The Mentor: The Metropolitan Museum of Art

8/20/2019 The Mentor: The Metropolitan Museum of Art

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The Project Gutenberg EBook of The Mentor: The Metropolitan Museum of Art,Vol. 6, Num. 9, Serial No. 157, June 15, 19, by Sydney P. Noe

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Title: The Mentor: The Metropolitan Museum of Art, Vol. 6, Num. 9, Serial No. 157, June 15, 1918

Author: Sydney P. Noe

Release Date: March 1, 2016 [EBook #51340]

Language: English

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THE MENTOR 1918.06.15, No. 157, The Metropolitan Museum of Art

LEARN ONE THING EVERY DAY

JUNE 15 1918 SERIAL NO. 157

THE MENTOR

THE METROPOLITAN MUSEUM OF ART

By SYDNEY P. NOE

DEPARTMENT OF VOLUME 6 FINE ARTS NUMBER 9


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TWENTY CENTS A COPY

DOES ART PAY?

ªArt is a vain pursuit,º says the shop-keeper. In that conviction manyan immortal painter, like Corot, has, in his youth, been packed offfrom home by a shop-keeping parent, and made to shift for himself. ªThestomach must be filled,º exclaims the shop-keeper, ªlet Art wait onthat.º To which the young painter answers, ªArt must find expressionfirst. Let the stomach wait.º And so the shop-keeper and painter pursuetheir separate ways, and it often happens, in the course of time,that they come together again. The painter gains recognition, and hispictures make him famous. The shop-keeper rises to be a millionairemerchant--and becomes a patron of Art.

[Illustration]

It is all very well to talk, as some cultured people do, about Art as akind of goddess that calls into existence paintings, statues, temples,

and museums, but, as William C. Prime observed some years ago, ªArt is,after all, a practical work. Her noblest products and her homeliestalways did and do cost money. That was a wise thought, in the earliestdays of Art, of the monarch who recorded on the Great Pyramid thequantity of onions, and radishes, and garlic consumed by its builders.º

[Illustration]

There are still left some who ask, `What is the use of beauty? Whatis the practical good of increasing art production? How does it pay?'The life blood of modern commerce and industry is the love of beauty.A great city, its wealth and power, rest on this foundation--trade inbeauty, buying and selling beauty. Is there any exaggeration in this?

Begin with the lowest possible illustration and ask the questioner,`Why are your boots polished? Why did you pay ten cents for a shine?How many thousand times ten cents are paid every day in a city forbeauty of boots?'

[Illustration]

Take from the people their love of color, their various tastes incotton prints, and one factory would supply all the wants supplied byfifty. Consider for one instant what is the trade that supports yourlong avenues of stores crowded with purchasers, not only in holidaytimes, but all the year around. Enumerate carpets, upholstery, wallpapers, furniture, handsome houses, the innumerable beauties of life

that employ millions of people in their production, and you willrealize that, but for the commercial and industrial love of beauty, acity would be a wilderness, steamers and railways would vanish, wealthwould be poverty, population would starve. Yes, there is money inteaching people to love beautiful things.

[Illustration: IN THE METROPOLITAN MUSEUM OF ART, NEW YORK


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PORTRAIT OF FEDERIGO GONZAGA, BY FRANCIA]

_THE METROPOLITAN MUSEUM OF ART_

_Francia_

ONE

Though Francia can hardly be ranked with the giants of Italian art, hehas given us a number of placid altarpieces and a few exceptionallyattractive portraits. The portrait of Federigo Gonzaga is one of thebest from his brush. Francia, a shortening of Francesco, was born inBologna, Italy, in the year 1450 or thereabout. He took the familyname of the goldsmith, Raibolini, to whom he was apprenticed at thebeginning of his artistic career. As a worker in metal he did somedie-cutting for medals, and designed some highly decorative pieces ofjewelry. We have an indication of his interest in this phase of art inthe necklace worn by Federigo Gonzaga. When Lorenzo Costa, later knownas the head of the Bolognese School of painters, settled in Bologna,

Francia became his intimate friend, and from that time on seems tohave devoted his attention to painting. As regards the graceful poseand expression of his figures, he belonged among the followers ofPerugino, a painter who had a strong influence upon the work of hismost illustrious pupil, Raphael. Francia's earliest dated altarpiecewas completed when he was about forty-five, but he had probably beenworking in conjunction with Costa for a number of years before thattime. Professor John C. Van Dyke, in his ªHistory of Painting,º tellsus that Francia's ªcolor was usually cold, his drawing a little sharpat first, as showing the goldsmith's hand, the surfaces smooth, thedetail elaborate.º Francia died in the year 1517.

The tale of the way in which the commission was received to paint the

portrait shown in this gravure is interesting. Federigo was the son ofFrancesco Gonzaga, Marquis of Mantua, and Isabella d'Este, the famousart patron. While fighting in the company of the Milanese againstthe Venetians at Legnago, the Marquis was captured, but through theintervention of the pope was liberated. However, the pope demanded as ahostage Francesco's son, Federigo, then ten years of age, stipulatingthat he be sent to the papal court at Rome. The boy's mother, on beingparted from him, insisted that she have a portrait of him, and on thejourney to Rome, in July, 1510, he halted at Bologna, where his fatherwas, and visited the studio of Francia. In ten days the artist hadcompleted the portrait with the exception of the background, which wasfinished later. The noble mother was much pleased with the result, andin expressing her gratification to the painter sent him thirty ducats

of gold. We have in her own words the statement that ªit is impossibleto see a better portrait or a closer resemblance.º

The panel, a singularly perfect example of Francia's careful mannerof painting, passed from Isabella d'Este to a gentleman who had doneher a service, and thereafter remained in obscurity until, over threecenturies later, it appeared in a London auction room in the collectionof Prince Jerome Bonaparte. Later it came into the possession of Mr.Altman, who bequeathed it to the Metropolitan Museum of Art.


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PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157 COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.

[Illustration: IN THE ALTMAN COLLECTION, METROPOLITAN MUSEUM OF ART,NEW YORK

OLD WOMAN CUTTING HER NAILS, BY REMBRANDT]


_Rembrandt van Rijn_

TWO

The keeping of a few dates in mind greatly aids in understandingRembrandt's pictures. His birth date has been variously given as

1605, 1606, and 1607. Rembrandt's story has been told at length inprevious numbers of The Mentor. It is said that ªwhatever he turned towas treated with that breadth of view that overlooked the little andgrasped the great.º His earliest work dates from 1627. In 1632 camehis first great success, the famous ªLesson in Anatomy.º He was atthat time living in Amsterdam, having moved there from his birth city,Leyden, Holland. Pupils and patrons flocked to his studios, and theworld was very bright. He became the best-known portrait painter of therichest art and commercial center of Holland. In 1634 he married Saskiavan Uylenborch, daughter of an aristocratic family and a young girl ofattractive qualities, who brought him many friends and bore him fourchildren. Rembrandt loved his wife devotedly. He made many portraitsof her, including one of her with himself that hangs in the Royal

Gallery at Dresden. In 1641, the fourth child was born, a son, whomthey named Titus. A portrait of this ªGolden Lad,º as his father likedto call him, hangs in the Metropolitan Museum. It was painted when hewas fourteen: ªThe wide-set eyes and full upper lids mark his artisticinheritance, but the far-away haunting expression seems a premonitionof his death in early manhood.º Saskia's death came in 1642, when Tituswas less than a year old.

Broken by the loss of his wife, Rembrandt continued to paint underincreasingly bitter circumstances, but his work showed no diminution inmerit, only a deeper feeling. When he was about thirty-five he receivedan order to paint Captain Banning Cock's company of Dutch musketeers.His manner of handling the lights and shadows of this renowned

masterpiece was misunderstood by French writers of a later period, whocalled it ªThe Night Patrol,º and Sir Joshua Reynolds, falling into thesame error, named it ªThe Night Watch,º instead of ªThe Day Watch.ºGreat dissatisfaction followed the original exhibition of this sortieof the civic guards through the jealousy of those that thought they hadbeen slighted in the composition of the grouping. This dissatisfactioncost Rembrandt much subsequent patronage, and thereafter he was nolonger the darling of Amsterdam, but a man saddened by personal griefsand overwhelmed by adversity.


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ªThe Mill,º now in the Widener Collection in Philadelphia, was executedduring this dark period of Rembrandt's life. Under the same influenceshe painted ªThe Old Woman Cutting Her Nails,º judged one of the rarestgems of all the Rembrandt pictures owned in this country. It portraysthe sympathetic feeling of the artist for old age, and is ªtypical ofthe careworn, sorrow-wrecked woman of all time.º Says a critic, ªThispicture is simply of a poor old woman intent on cutting her nails, witha pair of sheep-shears it seems, yet we are overcome with the power ofit--no details, dull in color, homely in subject, but bathed with alight that never was on land or sea. Rembrandt's light! What cared hefor poverty or neglect with such a comforter at hand?º The ªPortrait ofRembrandtº in the Museum was painted by himself when he was fifty-four,and is one of about sixty self-portraits. In 1668, he painted the ªManwith a Magnifying Glass.º This, too, hangs in the Museum, and also thegrim ªPilate Washing His Hands.º The last picture purchased by Mr.Altman, whose entire collection was obtained in the space of a fewyears, was ªThe Toilet of Bathsheba,º thought by many judges to be theloveliest of Rembrandt's pictures that tell a story. It was painted in1643.

Rembrandt died in 1669. Twelve years before, he had been sold outof house and home. It is said that there are in America today morepaintings by this greatest of Dutch masters than in any one country ofEurope. Thirteen pictures signed by him became a part of the Altman

Collection. There are now about one hundred Rembrandt paintings ownedin this country. The ªOrphan Girl at Windowº is in the Art Institute,Chicago. Mr. Frick, of New York, acquired the so-called ªPolish Riderºand ªRembrandt Seated.º Other examples of Rembrandt's genius are ingalleries in Boston, Philadelphia, New York, and Cincinnati.



JAMES STUART, DUKE OF LENNOX, BY VAN DYCK]


_Anthony van Dyck_

THREE

The Metropolitan Museum offers an unusual chance for the study ofVan Dyck's (dike) portraits, though it possesses none of his figuresubjects. In point of time, the ªPortrait of a Manº from the MarquandCollection in the Museum is probably the earliest of the eightportraits attributed to him. For a long time it was attributed toVan Dyck's master, Rubens. The ªPortrait of a Ladyº (holding a blackfeather fan) from the same source, seems also to belong to the firstAntwerp period. Van Dyck was born in Antwerp on March 22, 1599. In1621, when he was twenty-two years of age, Rubens advised him to visit


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Italy. Aside from some occasional journeys, he seems to have spenthis time at Genoa, and for nearly five years he painted the nobilityof that thriving port. It was during these years that the ªMarchesaDurazzoº of the Altman Collection was done, as was also the portrait ofhis friend and fellow-townsman, Lucas van Uffel, whose activities asa merchant had brought him to Genoa. Upon his return Van Dyck workedfor five years in Antwerp, painting during that time many altarpiecesand religious subjects for the churches and chapels of the city. Theportrait of Baron Arnold Le Roy (Hearn Collection) was probably paintedwithin this period.

From Antwerp, Van Dyck went to London at the invitation of CharlesI. Many portraits of the king, of Queen Henrietta and their childrentestify to the high esteem in which he was held. His popularity was sogreat and his commissions so numerous that he was compelled to hire anumber of assistants. The helpers painted the costumes and draperies ofthe portraits, while their employer limited his brush to the paintingof the faces and hands.

The portraits of the famous art patron, The Earl of Arundel and hisgrandson, and of James Stuart, Duke of Lennox, came in this period,when the artist's short life of forty-two years was drawing to a close.The Duke of Lennox was a cousin of the king, who created him first Dukeof Richmond. The Duke is said to have offered to ascend the scaffold

in the place of his noble cousin when Charles I was condemned. Whetherthe rank of the sitter prevented Van Dyck from allowing his assistantsto have anything to do with the portrait we cannot know positively,but seldom has a more superb portrait come from his brush. Howremorselessly the weakness of his character is given! Note the masteryin the placing of the star of the Order of the Garter, and the emphasisgiven to the devotion of the superbly painted greyhound.

There came into the market a few years ago a number of portraitsfrom one of the old Genoese palaces, where they had hung since VanDyck painted them. A majority of these pictures passed into Americancollections. Two were secured by Mr. Frick, and three more became apart of the Widener Collection in Philadelphia, where they hang in the

company of two others of this master's fine canvases.



YOUNG WOMAN WITH A WATER JUG, BY VERMEER]


_Jan Vermeer_

FOUR


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Less than two score of Vermeer's pictures are known to us today, and,of these, eight or nine are now in the United States. Any one of themis worth a fortune. In this case artistic and commercial values gotogether. Little is known about Vermeer. The dates of his birth anddeath (1632-1675) have been found in his native Delft. There he livedand worked for forty-three years. An early traveler, describing Delft,mentions Vermeer, and states that his pictures were much sought after.They were originally valued at six hundred livres, equivalent to aboutone hundred and fifty dollars, in those days considered a large sum.Vermeer's family was large, and he was fairly prosperous. But after hisdeath, for some unknown reason, he seems soon to have been forgotten.Houbraken, the chronicler of the Dutch painters, did not mention him,and this neglect possibly accounts partly for the oblivion into whichhis work sank.

The reason why Vermeer's contemporary fame was not greater is not farto seek. The Dutch artists were all finished craftsmen. De Hooch,Terborch, and Metsu are painters of the same high rank as Vermeer.Jan Steen, the Van Ostades, and some of the lesser men were hardlyinferior. Moreover, not only was there little traveling on the part ofthe art patrons in those days, but the artist could seldom think ofmoving from one town to another because he would have had to purchaseburgher-rights and guild-rights in each new place of residence. Aftersettling, and having once established a demand for their pictures, we

seldom find the Dutch artists moving on to evils they knew not of inother cities. In consequence, the artist's fame, however well-deserved,rarely spread beyond a very limited range. Vermeer's early death andthe small number of pictures finished by him prevented his work frombeing widely known, and contributed more than anything else to itsbeing soon forgotten.

In 1866, interest in Vermeer revived through the publications of E. T.J. Thore, who wrote under the pen name of W. Bûrger. The greater partof Vermeer's pictures consist of light-flooded interiors, with usuallybut a single figure. Sometimes a ªMusic Lessonº will show master andpupil, but seldom are there more than three or four figures. There aretwo famous outdoor scenes--the smaller in the Jan Six Collection at

Amsterdam, the larger in the Maritshuis (marits-heuse) at The Hague.Then there are three or four portraits, surrounded by atmosphere, andbrilliant in lighting. Lastly there are a few canvases very differentfrom any of these others, painted with a broad brush on a larger scaleand with great fluency. This seems to be the style towards whichVermeer was changing when he died. Five of this artist's pictures wereshown at the Hudson-Fulton Exhibition. The one in the Altman Collectionhas suffered seriously through cleaning and restoration, and is not sofine as the subject of this gravure.



SALOME, BY REGNAULT]


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[Illustration: IN THE FLETCHER COLLECTION, METROPOLITAN MUSEUM OF ART,NEW YORK

GLEBE FARM, WITH THE TOWER OF LANGHAM CHURCH, BY CONSTABLE]


_John Constable_

SIX

That the Metropolitan Museum should have so splendid an example ofConstable's style is most fortunate. For it is just the richnessand glow of color that are seen in the ªGlebe Farmº that make theªCornfield,º the ªHay Wainº and the ªValley Farmº of the LondonNational Gallery so supremely fine. While not so ambitious as these orthe much larger ªWhite Horse,º shown at the time the paintings of theJ. Pierpont Morgan Collection were on exhibition, it is quite in thesame class.

Constable's struggle for recognition was long and arduous. Afterpersistent opposition on the part of his fiancée's family, he wasmarried when forty years old. There followed twelve years of happiness;the death of his wife at the end of that time was a blow from whichConstable never recovered. His election as an Academician came withinthree months of her death, but his reply to the announcement was, ªIthas been delayed until I am solitary and cannot impart it.º

Constable was born in Suffolk County, England, June 11, 1776, andlived to be sixty-one years of age. He became a student at the RoyalAcademy when he was twenty-three. Three years later he exhibited hisfirst picture. Strangely enough, his work was appreciated in Francebefore it won its way at home. He exerted a marked influence upon the

rising school of French landscape painters. A medal was awarded him forpictures exhibited at the Salon in 1824, and the next year the ªWhiteHorseº won another for him at Lille. During the early years of hiscareer, commissions for portraits were undertaken as a temporary reliefto his finances. One of the best of these portraits hangs in the HearnCollection at the Metropolitan Museum.

Constable's pictures are very uneven in merit, but whether successfulor not, there is always evident a sturdy love for nature and a faithfuleffort to record her moods. He never painted anything but his belovedEngland, and few of her artist-lovers have surpassed him in depictingher rural beauties. Many of his canvases are as glowing with color as ahillside after a shower. His compositions are seldom grandiloquent, as

are some of Turner's, but even Turner did not have a better eye for thedramatic placing of a thunder-cloud. Like Corot, Constable portrayedagain and again a few scenes and localities that he knew thoroughly,painting first from one angle and then changing to a new point of view.The sincerity of the artist speaks from even the hastiest sketch.England no longer withholds her admiration for his work; his picturesnow command the prices brought by ªold masters.º

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 6, No. 9. SERIAL No. 157


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COPYRIGHT, 1918, BY THE MENTOR ASSOCIATION, INC.

THE MENTOR · · JUNE 15, 1918

DEPARTMENT OF FINE ARTS

The Metropolitan Museum of Art, New York

By SYDNEY P. NOE

_MENTOR GRAVURES_

PORTRAIT OF FEDERIGO GONZAGA

By Francia

OLD WOMAN CUTTING HER NAILS

By Rembrandt

JAMES STUART, DUKE OF LENNOX

By Van Dyck

[Illustration]

_MENTOR GRAVURES_

YOUNG WOMAN WITH A WATER-JUG

By Vermeer

SALOME

By Regnault

GLEBE FARM, WITH THE TOWER OF LANGHAM CHURCH

By Constable

[Illustration]

[Illustration: PORTRAIT OF HENRY G. MARQUAND. By John S. Sargent

Mr. Marquand was the second president of the Metropolitan Museum]

Entered as second-class matter March 10, 1913, at the

postoffice at New York, N. Y., under the act of March 3, 1879. Copyright, 1918, by The Mentor Association, Inc.

NOTE.--In choosing the illustrations for this number, we have selected, for the most part, pictures that have not been reproduced in The Mentor heretofore. The Mentor has drawn largely on the Metropolitan Museum for illustrations, many of the well-known masterpieces there having been reproduced in one number or another. A list of Metropolitan Museum pictures already published in The Mentor will be supplied on request.


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The Metropolitan Museum of Art, among all the art collections in ourcountry, undoubtedly has the best claim to first importance, and isbecoming more and more a place of pilgrimage for the hosts that visitNew York each year.

The Metropolitan Museum has grown so that it is no longer to becompassed in a morning visit. The pictures alone require more thanthat, many times more, and they form but one department. Much greaterbenefit will come from part of a day or a whole day spent with a singleschool of painting. As far as possible, this is the way in which thepictures are hung, but several bequests have been conditional upontheir being kept intact, and a trip from one end of the building tothe other is sometimes necessary to compare pictures by the sameartist. The paintings now owned number about twelve hundred. Not all ofthese are on exhibition, but loaned pictures bring the total to aboutthat figure.

[Illustration: TITUS, SON OF REMBRANDT. By Rembrandt]

New York was founded by the Dutch, and it is a singular coincidencethat the Dutch School is the strongest at the Metropolitan Museum. BothHals and Rembrandt, the leaders of this school, are well represented,

and in few European museums can Rembrandt and his school be studied tobetter purpose. Hals was born in 1584, Rembrandt in 1606. Rembrandtworked in Amsterdam, Hals at Haarlem, only fourteen miles away. Thereare several pictures attributed to Hals, the elder and younger, andthe number is sometimes increased by loans. ªThe Merry Company,º inthe Altman Collection, is more pretentious than the others, but if itcould be hung between the two portraits in the Marquand Room at thehead of the main stairway, it would seem garish alongside the masterlytreatment of the blacks in the ªPortrait of a Man,º or the wonderfuldrawing of the hands in the ªPortrait of a Woman.º

[Illustration: WHEATFIELDS. By Jacob van Ruisdael]

The pictures by Rembrandt and his school are the chief glories of theMuseum--no less than sixteen pictures are attributed to his hand. Inan earlier number of The Mentor, Rembrandt's three styles have beenclearly distinguished. It is to the first or ªgrayº period that theªPortrait of a Manº belongs, and most admirably does it represent theclass. ªThe Man with a Steel Gorgetº falls in the middle or ªgoldenºperiod. The greater part of the pictures belong to the late period--theyears in which fortune no longer smiled, and sorrow succeeded sorrow.The portrait of Titus, his son, while still a lad, must have comeearly in this period, and before troubles thickened. A few years latercomes the ªOld Woman Cutting Her Nails,º hailed by many as the finestof the Museum's Rembrandts, but different from anything else by himthere. Hanging beside it is the ªLady with a Pinkº--a portrait with

an overpowering sense of reserve force. What luminous shadows andwhat living color it has! So also with its companion piece, though toa lesser degree. Compare them with the two portraits of men in theDutch Room at the other end of the building. They too come in thelate period. What tremendous dignity and poise show forth from thesecanvases!

Gerard Dou (dow) worked under Rembrandt in the ªgrayº period. Thesmall, crisp ªPortrait of the Artistº shows his change of styleafter leaving the studio. Dou trimmed his sails to catch the wind


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of fashion, a thing that Rembrandt refused to do. Another pupil,Nicolaes Maes, worked with Rembrandt during the ªgoldenº period. Hegives us a brilliant piece of color, a ªYoung Girl Peeling Apples,º inwhich the glow of red warms all the panel. Aert de Gelder portrays asturdy ªDutch Admiral,º and there is one of the far-stretching Dutchlandscapes by Philip de Koninck.

[Illustration: A VISIT TO THE NURSERY. By Gabriel Metsu]

_Dutch Masters_

The ªLittle Masters of Hollandº are present in strength. Metsu'sªVisit to the Nursery,º which came from the Morgan Collection, is hismasterpiece. It is an intimate glimpse of home life that attractseveryone, and is painted with a mastery that strengthens its humanappeal. But Metsu is far surpassed by Vermeer. Less than two score ofhis pictures are known; the Metropolitan Museum already owns two ofthem, and of these, the ªYoung Woman with a Water-Jug,º is of firstrank.

The landscape men should not be overlooked. Cuyp (koip) has threeof his cattle pictures, filled with sunlight; and Hobbema, one ofthe rarest-met of the Dutchmen, has a view of a Dutch village.

ªWheatfields,º by Jacob van Ruisdael (rize´-dale), shows him at thesummit of his powers. It is superior to anything by him to be found inthe European collections. With its low-lying horizon and broad sky, itis typical of the best in the Dutch treatment of landscape.

[Illustration: PORTRAIT OF A MAN. By Dirk Bouts]

Next to the Dutch, the Flemish is the one best represented amongthe older schools. High finish and purity of color are the chiefcharacteristics of these careful brushmen. There is a tiny fragmentby Jan van Eyck (ike) (?-1440), usually identified as a portrait ofThomas à Becket. A monumental ªAnnunciationº is by Roger van derWeyden, with rich velvets and brocades and careful painting of details.

In the Altman Collection there are four panels by Memling. All are ofsuperior quality--in fact, the ªPortrait of an Old Manº was for a longtime attributed to Jan van Eyck. Another portrait, by Dirk Bouts, hasthe same directness and force, and is almost equally fine. This isportraiture of the highest order.

[Illustration: PORTRAIT OF AN OLD MAN. By Hans Memling]

Rubens (1577-1640) brought a new spirit to the school. One may obtainat the Metropolitan a fairly clear idea of his power and of theinfluence of his style upon his fellow-artists, although there are noneof his finest creations present. Rubens relied upon the help of hisassistants more than most other artists. Indicating his intentions,

whether by a small sketch or roughly on the canvas itself, he wouldleave the carrying out to his pupils, and afterwards correct or retouchthe parts that did not satisfy him. The large ªWolf and Fox Huntº wasprobably handled in some such way, as were a number of these huntingpictures. The ªHoly Family,º nearby, is in his first style, and someof Rubens' brushwork may still be recognized in the figure of theChrist-child. Rubens' skill in another field is upheld by two goodportraits of men. There are several school pieces[1] of merit, and anearly copy of his ªSusannah.º


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[1] A school piece is a picture done by a pupil, closely following the style of his master.

[Illustration: THE ANNUNCIATION. By Roger van der Weyden]

Van Dyck, Rubens' best pupil, is even better represented than hismaster. We may trace his development in no less than eight portraits.Two in the Altman Collection were done during his visit to Genoa,and betray some of the influence of Italy. But Van Dyck hardly eversurpassed the full-length of James Stuart, Duke of Richmond and Lennox.

_Italian Masterpieces_

Most of the masterpieces of the Italian School had been absorbed intoEurope's national collections before the Metropolitan Museum enteredthe field. It is quite remarkable that the present showing is possible,in view of the difficulties in the way. Most of the works of theªprimitivesº[2] are fixed on the walls of the palaces and churchesof Italy, but there is a scattering of them here. In the case ofPollajuolo's (polla-yoo-o´-lo) ªSt. Christopher,º the whole wall hasbeen transported. It has great value for the study of fresco technic.An ªEpiphany,º simple in its appeal, attributed to the School of Giotto(jot´-to), but possibly by Giotto himself, has great charm of color and

composition.

[2] The pioneers of a nation's art. In Italy, Giotto and Duccio are the two great primitives.

One of the most important possessions of the Museum is Raphael'sªMadonna of St. Anthony,º the gift of Mr. J. Pierpont Morgan. It waspainted before the artist had fully developed, and lacks the spiritand brilliancy of his later productions. But study its composition.Note the dignity in the single figures of St. Peter and St. Paul. Howexquisitely the adoring angels fill the lunette![3] The picture wasintended for the high altar, and, in its original position, it wouldhave been possible to see it only from a distance and from below, and

not close at hand as now. The central group shows some of the promiseso richly fulfilled in the years that followed.

[3] The upper, semi-circular portion. The word refers to the half-moon shape of the composition.

[Illustration: VIRGIN AND CHILD ENTHRONED WITH SAINTS. By Raphael

Also called ªThe Madonna of St. Anthonyº]

[Illustration: MADONNA AND CHILD. By Andrea del Verrocchio]

[Illustration: GIRL WITH CHERRIES. By Ambrogio de Predis]

Of the other Florentines, the pensive ªMadonnaº by Verrocchio(ver-roke´-kee-o) is very attractive, and the Fra Angelico paneland the circular composition by Mainardi should not be overlooked.Neither of the subjects by Botticelli (bot-tee-chel´-lee) conveysa fair conception of his artistic significance, although they arewell authenticated. There is a highly finished portrait of FederigoGonzaga (fed-er-ee-go gon-tha-ga) by Francia (fran´-cha), in perfectpreservation. The ªGirl with Cherries,º now assigned to Ambrogiode Predis, was for a long time thought to be by Leonardo da Vinci


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ªMiss Sparrowº and, in another field, in the ªLandscapeº in the HearnGallery. He used to paint these landscapes as relaxation from theportrait pieces. Romney and Opie (o´-pee) have attractively picturedLady Hamilton for us. One of the best pictures that ever came fromLawrence's brush is his portrait of the Reverend William Pennicott.

[Illustration: MARIE MARGUERITE LAMBERT DE THORIGNY. By Largillière]

[Illustration: PORTRAIT OF A LADY. By François Boucher]

There are some good canvases by the landscape men. Constable has anunusual portrait, as well as the gorgeous ªGlebe Farmº in the FletcherCollection. John Crome, in his ªHautbois Common,º shows the influenceof the principles of the Dutch School. Wilson has an unusually richªItalian Landscape.º Turner, the greatest of the English landscapists,is responsible for three pictures. The early ªSaltashº is rich andluminous; the ªGrand Canal, Venice,º is one of the best of his picturesof the island city, and the ªWhale Shipº is in his late style. Thereare some wonderful water-colors by him on loan.

[Illustration: ARABS CROSSING A FORD. By Eugène Fromentin]

The French School of the seventeenth and eighteenth centuries isrepresented by pictures few in number, but excellent in quality.

Boucher (boo´-shay), Largillière (lar-geel´-yare), Nattier(nat´-ee-ay), Drouais (droo´-ay)--all these men show amazing strengthon the decorative side, and, always, exquisite taste. Chardin(shar´-dahn) has a beautiful low-toned still-life, ªPreparations fora Breakfast.º David's portrait in the Fletcher Gallery is a marvel ofdirectness. In the Morgan Wing there are eight decorative landscapes byHubert Robert well worth looking up in this connection.

_Modern French Artists_

Some of the modern French artists were appreciated by Americans beforetheir genius was recognized at home. Certainly the Modern French

Section is one of the strongest in the Museum. Romanticism, realism andimpressionism are all to be seen in the work of their chief exponents.An afternoon might profitably be spent with the men of Barbizon(bar´-bee-zong). Corot's (kor´-ro) poetic outlook upon nature is plainin each of twelve landscapes. The ªLane Through the Trees,º with asense of cool shadow after the heat of a dusty road, is perhaps thebest of them.

[Illustration: ENGLISH LANDSCAPE. By Thomas Gainsborough]

[Illustration: LANDSCAPE WITH FIGURES. By George Morland]

Rousseau (roos-so) speaks a more rugged and direct language in

the fifteen subjects by him. The sober ªGorges d'Apremont (gorgeda´-pre-mong); Evening,º with a still luminous sky above the hills, ismagnificent. Millet (mee´-yay) is represented by the famous ªSower,ºwith its rhythm and swing, an almost equally fine ªWater-Carrier,ºthe impressive ªAutumnº in the Fletcher Collection, and half a dozenothers. Dupré (dyu´-pray) and Diaz (dee´-ath) have good pictures, andwhen has Troyon ever surpassed his superb ªHolland Cattleº? Daubigny(daw-been´-yee), though he comes a bit later, is usually associatedwith these men. There are eight or nine of the subjects he used to findin punting about among the streams and back-waters of the Seine (sane)


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and Oise (wahz)--how intimate they seem!

[Illustration: LADY WILLIAMS. By Ralph Earle]

[Illustration: BOY WITH A SWORD. By Edouard Manet]

[Illustration: LANDSCAPE. By Charles François Daubigny]

The Museum is fortunate in owning a number of pictures that arerecognized as the masterpieces of their respective artists.Bastien-Lepage's (bas-tee-en lah-pazsh´) ªJoan of Arcº is one ofthese. Realism?--yes, but so combined with imagination that theresult is gripping. Rosa Bonheur's ªHorse Fairº is one of thebest-known pictures in the Museum. Many are familiar with it in blackand white reproduction, in which it shows to good advantage. Theoriginal painting is somewhat disappointing in color. Meissonier's(may-sone-yay) ªFriedland, 1807º is an example of his carefulbrushwork, but is less successful than some of his smaller panels thatare shown in the Museum. Regnault's (rane´-yoe) ªSalome,º a daringharmony in yellow, shows the dancer awaiting her reward from Herod.ªMadame Charpentier (shar-pen´-tee-ay) and her Children,º by Renoir(ren´-wahr), is one of the most charming groups to be found anywhere.Renoir employed the methods of the impressionists, but he neverallowed his subject to become secondary to the medium--a thing his

brother-impressionists sometimes seemed to do. There are pictures bythe other exponents of these principles to speak for themselves, andsome of them speak very well. Manet (mah-nay) in the ªBoy with a Swordºis following Velasquez to good advantage. A portrait by Fantin-Latour(fahn´-tang-la-toor´) depicts the wonderfully sensitive face of a ladyin black. A turquoise brooch gives a piquant touch of color that isrepeated in the other jewels she wears. There are many other picturesthat one could ill afford to pass by--Couture's ªDay Dreams,º forexample, and ªArabs Crossing a Fordº by Fromentin (fro-mahn-tang), orthe pictures by Delacroix (del-lah-krwah), Courbet (koor-bay), Jacque(zshock), and Dagnan-Bouveret (dahn´-yahn-boo´-ver-ray), to mentiononly the more important. Last, but far from being least, is the groupby Puvis de Chavannes (poo´-vee de sha-van´) to show the power of that

great mural painter.

[Illustration: FORENOON, ADIRONDACKS. By Alexander H. Wyant]

_American Artists_

Naturally, American artists are well represented in the MetropolitanMuseum. Nine pictures stand sponsor for Gilbert Stuart's skill, andseveral are surprisingly fine. Such work as John Singleton Copley'sªMrs. Bowersº and Stuart's ªMrs. Anthonyº do not suffer from comparisonwith the productions of the English School of their time. Indeed,Ralph Earle's ªLady Williams,º sometime previous to its purchase in

London, masqued as a Gainsborough! Its simplicity and slightly awkwarddirectness are captivating. Do not fail to observe, however, thatthe table accessories are exceedingly well painted. One of the mostinteresting of these early pictures is a group of pupils in the studioof Benjamin West. As president of the Royal Academy, his aid was soughtby almost every American with any artistic ability who could obtainpassage money to London. Matthew Pratt, one of those whom West helped,here shows him criticizing the sketch of one of a group. Prominentamong the men of the next generation is Morse, the inventor of thetelegraph, but also a painter of no mean order, and the author of good


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portraits of Henry Clay and De Witt Clinton. Sully, another man ofexceptional taste for his time, has ten pictures, including the sketchfor his portrait of Queen Victoria.

[Illustration: MARBLE QUARRY AT CARRARA. By John S. Sargent]

Nowhere else can the ªHudson River Schoolº[4] be studied so well. Toour eyes these beginnings seem a bit hard and crude, but such canvasesas F. E. Church's ªHeart of the Andesº and ªParthenonº are reallyimpressive. But most of these men interest us today chiefly as theforbears of a later group. Inness, Wyant, Homer Martin and Blakelockhave only a point of view in common, and yet they form a transitiongroup that leads out of the ªHudson River Schoolº to the landscapemen of the present day. In no other gallery is the work of these fourartists so well represented. In some of the canvases the inspirationof the Barbizon men is very apparent. Inness succeeds best, perhaps,in his oft-reproduced ªAutumn Oaksº or his ªDelaware Valley.º Wyant'swork is very even--ªAn Old Clearingº is the best of his ten pictures.Blakelock's ªPipe Danceº is fine in a very different way. Homer Martin,perhaps the most interesting figure of them all, reached his highestlevel in the ªView on the Seine,º or as his wife named it, ªThe Harp ofthe Winds.º That picture may fairly claim to be the best-known and mostloved landscape by any American artist. His sight was almost gone whenthe last touches were added. No less impressive, to some, is his ªSand

Dunes, Lake Ontario.º All the desertedness and barrenness of the dunesseem to have been caught and expressed on his canvas.

[4] The Hudson River School of Art is considered at length in Monograph Six, Mentor No. 136, ªThe Story of the Hudson.º

Sargent, Whistler, La Farge, Chase--all are here, and in many phases.Sargent's portraits are fine, but do not miss his water-colors, orhis ªMarble Quarry at Carrara.º Winslow Homer was one of the firstAmericans to realize the possibilities of the sea as a subject,and there are eight paintings by him, as well as a dozen forcefulwater-colors. Carlsen, Dougherty (dock´-er-tee) and Waugh (wah) aresea-lovers too. And as for the figure-painters, Dannat's (dan´-nah)

ªQuartette,º Abbey's ªLearº and Mary Cassatt's ªMother and Childºshould not be omitted. Among the landscapists come Twachtman and Tryon,Groll with his Arizona mesa, Lie with ªCulebra Cutº for his subject,and Ben Foster with a fine ªLate Summer Moonrise.º Here is a richassemblage of American art.

[Illustration: SAND DUNES, LAKE ONTARIO. By Homer Martin]

SUPPLEMENTARY READING

THE ART OF THE METROPOLITAN MUSEUM OF NEW YORK _By David C. Preyer_

WHAT PICTURES TO SEE IN AMERICA _By Lorinda M. Bryant_

A HISTORY OF THE METROPOLITAN MUSEUM OF ART _By Winifred E. Howe_ Issued by the Museum.

CATALOGUE. Issued by the Museum.

Information concerning the above books may be had on application tothe Editor of The Mentor.


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THE OPEN LETTER

[Illustration: THE METROPOLITAN MUSEUM OF ART, NEW YORK CITY]

The story of the Metropolitan Museum of Art begins with an address byJohn Jay before a company of Americans at a Fourth of July dinner inParis in 1866. In the course of his address Mr. Jay stated that ªitwas time for the American people to lay the foundation of a nationalinstitution and gallery of art.º This suggestion commended itselfto a number of notable American gentlemen who were present, and whoformed themselves into a committee for inaugurating the movement. Thiscommittee subsequently addressed an appeal to the Union League Club ofNew York City, urging the importance of founding a permanent nationalgallery of art and museum of historical relics for the benefit ofthe people at large, and suggesting that the Union League Club mightproperly institute the means for promoting this great object.

Mr. Jay, on returning home from Paris, was elected president of theUnion League Club, and the letter from the committee came up for his

own official notice. The result was a meeting at the Union League Clubon November 23, 1869, to consider the founding of a museum, and acommittee of fifty, made up of some of the most distinguished men ofthe day, was appointed to carry out the project.

It is interesting to read today that the sum of money that the foundersplaced before them as the goal of their ambition with which toestablish this great art institution was only $250,000--a sum $100,000less than the present administration's expenses for one year. And yetthis distinguished committee, after more than a year's effort, raisedless than half of the desired sum--only $106,000. Such, financially,was the modest beginning of the great Metropolitan Museum which now,besides its extensive buildings and its priceless collections, has an

endowment for a purchase fund of over ten million dollars.

The idea of locating the art museum in Central Park originated withAndrew H. Green, known as the father of that great park. From 1870until 1879 the Museum was housed, first on Fifth Avenue, and thenon Fourteenth Street. The original building, in Central Park, wascompleted in 1880, and was opened by President Rutherford B. Hayes.Additions were erected in 1888, 1894 and 1902. Since then morecontributions have been made to the complete plan which, when realized,will comprise a group of buildings that will cover an area of 18½acres, and will cost about $20,000,000. The architects were CalvertVaux, then Theodore Weston, Richard M. Hunt and McKim, Mead & White.The Museum had first to rely largely upon voluntary service. This ended

in 1879 with the election of a salaried director, General di Cesnola.At his death, in 1904, he left a valuable memorial in the collectionof antiquities that he gathered together while United States consulin Cyprus, and which includes over 30,000 specimens. A new era in theaffairs of the Museum began with the election of Mr. J. Pierpont Morganas president. Under Mr. Morgan's presidency the Metropolitan becameone of the richest museums in the world, and on his death, in 1914, itreceived for exhibition his great collection of art objects, valued at$50,000,000. Of this, the greatest private collection in the world,a large part has now become the property of the Museum through the


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princely gift of Mr. Morgan's son, the present J. Pierpont Morgan, andis being installed by itself in a wing called the Pierpont Morgan Wing.The Museum has been the recipient of many large endowments, and manyfine private collections. Notable among the benefactors may be namedthree of New York's most distinguished merchants, A. T. Stewart, JamesA. Hearn and Benjamin Altman.

During its existence many of the most prominent citizens of New YorkCity have been connected in some active capacity with the Museum. Thepast presidents of the Institution were John Taylor Johnston, HenryG. Marquand, Frederick W. Rhinelander and J. Pierpont Morgan. Mr.Robert W. de Forest, for many years secretary of the Museum, is nowits president. Among the vice-presidents were William Cullen Bryant,Andrew H. Green, General John A. Dix, A. T. Stewart, John S. Kennedy,D. O. Mills, Joseph H. Choate, and others. The affairs of the Museumwere directed during the first years by General di Cesnola, then by SirCasper Purdon Clarke, and now by Mr. Edward Robinson.

Under the direction of the present secretary, Mr. Henry W. Kent, thehistory of the Metropolitan Museum has been written by Winifred E.Howe, and published in a luxurious volume of 360 pages. This beautifulbook affords a most interesting and instructive lesson in what can beaccomplished in less than fifty years in the development of a great artinstitution.

[Illustration: W. D. Moffat

EDITOR]

A Letter From Japan

I have been interested in The Mentor ever since a warm morning inJune four years ago when, as a delegate to the General Federation of

Women's Clubs held that year in Chicago, I found in my seat a samplecopy. ªAmerican Sculptorsº was the title of the number. I was delightedwith it. I asked if it would be all right to take some extra copies,and I was told ªyes.º So I loaded myself down with them, thinking ofthe many young men in Tokyo with whom we were in touch, who would beso delighted to have them. This was exactly the case. Every Mentor Ibrought was used in the best way possible, and many of the pictureswere given out singly, so that more could have them.

Fortunately my mother has been sending The Mentor to me. She beganto take it through seeing my copy, and it is one of the delightfulvisitors to our home.

I have been much interested in the letters that you have printed. Noone has said how helpful The Mentor is to a missionary. First: to keepone from forgetting what has been seen and known; second, to makefriends for one of the things one ought to know; third, for the sake ofone's children, who find a great education in the twice-a-month textand pictures.

Aside from the personal value to the missionary and his children, isthe value to the foreign people with whom he associates. His home is acenter, and many an ideal of a foreign home comes from his. Those of us


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that teach students, and children especially, are forming standards oftaste. The Mentors on the library table are valuable because they areattractive to look at, and the brief descriptions on the backs of thepictures are easy to understand by anyone who knows a bit of English.

I have at present a very interesting class of university men, with whomI talk once a week. We have had some delightful times using The Mentorpictures. The foreign things shown in Japan are usually crude. Withsuch a heritage of good art of her own, Japan should know more of ourbest things--and The Mentor gives this to them. This is my plan forour own seven-year-old lad: I have six frames the size of The Mentorgravures, and I change the pictures as often as new ones come.

With every good wish for your continued success,

F. ELIZABETH COLEMAN.

10 Hinoki Cho, Ahasaka, Tokyo.

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BY THE MENTOR ASSOCIATION INC., AT 114-116 EAST 16TH STREET, NEWYORK, N. Y. SUBSCRIPTION, FOUR DOLLARS A YEAR. FOREIGN POSTAGE 75CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES TWENTYCENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK;SECRETARY, W. D. MOFFAT; TREASURER, J. S. CAMPBELL; ASSISTANT TREASURERAND ASSISTANT SECRETARY, H. A. CROWE.

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that goes to make up a volume.

We have just received from the binders a number of sets, finished in abeautiful three-quarter morocco. It is complete in five handy volumes,containing all the material that has been published up to and includingissue 120. It contains 2,000 text pages, 720 full page gravures, andover 1,800 other rare illustrations. The sets that have just come inare especially well-bound; so strong, in fact, that they will lastfor years. The leather is an extra fine skin, the clear cut letteringand the cover decorations are in gold--making a set that will prove a


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handsome addition to any library.

As a member of The Mentor Association you appreciate the value ofpossessing a work that has the merit of the material that makes upThe Mentor Library. Each subject is complete in every detail--and youhave the privilege of possessing all subsequent volumes as fast asthey are issued, which in time will be a complete, authoritative, anda supremely interesting set. It is a set of volumes that you will beproud to pass on to your children and to your children's children; andthe price is so low, and the terms so easy, that you surely must takeadvantage of it.

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End of the Project Gutenberg EBook of The Mentor: The Metropolitan Museum ofArt, Vol. 6, Num. 9, Serial No. 157, J, by Sydney P. Noe

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Documents

The Mentor: The Metropolitan Museum of Art