A descriptive catalogue of the pictures in the Fitzwilliam museum, comp largely from materials supplied by Sidney Colvin .. . cts, genre piecesand landscapes; his etchings are numerous and shew some of his finest qualities. He hada strong influence on almost all the Dutch painters of his time, and among his many pupilswere Dou, Ferdinand Bol, Ph. Koninck, etc. III. 152. Study of a man with a plumed /tat and a long length ; three-quarters full face, turned to r.; his r. armis akimbo, his 1. leans on a stone ledge and supports a huge cross-hilted sword. He wears a rich crimso
A descriptive catalogue of the pictures in the Fitzwilliam museum, comp largely from materials supplied by Sidney Colvin .. . cts, genre piecesand landscapes; his etchings are numerous and shew some of his finest qualities. He hada strong influence on almost all the Dutch painters of his time, and among his many pupilswere Dou, Ferdinand Bol, Ph. Koninck, etc. III. 152. Study of a man with a plumed /tat and a long length ; three-quarters full face, turned to r.; his r. armis akimbo, his 1. leans on a stone ledge and supports a huge cross-hilted sword. He wears a rich crimson costume reaching to theknees, with full sleeves tight at the wrist, a steel breast-plate, a goldchain round his neck, a broad hat with white and red feathers. Hehas a moustache and imperial. The background is dark; a littlelight falls from 1. on the face ; the rest is in shadow. Signed lower r. corner he J Panel, 4 i£ by 3 4$, arched at top. Fitzwilliam. Formerly in the collection of the Earl of Besborough: see Smith, CatalogueRatsonnl, vn. p. ,01, no. 273; Waagen, III. 448. Engraved in Forsters British Gallery, 52 Reyni\ CATALOGUE OF PICTURES 165 RENI. GuiDO Reni. Bolognese School, 1575 — 1642. Born at Calvenzano near Bologna on Nov. 4, 1575; he studied for some years underDenis Calvaert, but afterwards joined the Academy of the Carracci, and soon becamea dangerous rival of his masters. In 1599 he appears to have gone to Rome, though thepicture in the Barberini Palace called a portrait of Beatrice Cenci, which he is supposed tohave executed at this time, is probably not a portrait of her. In 1604 he was again inBologna and working with the Carracci on the frescoes of S. Michele in Bosco, but returnedto Rome in 1605, where he was for a time strongly influenced by Caravaggio; here hestayed and painted some of his finest works, most of them frescoes, and notably the Aurora of the Rospigliosi Palace. From 1612 to 1620 he was again in Bologna, and after twoyears spent in
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Keywords: ., bookcentury1900, bookdecade1900, booksubject, booksubjectpainting
