How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . on in which gods andgoddesses and allegorical figures mingle with the actualpersonages. Velasquez, on the contrary, while keepingin mind the decorative necessities of the canvas, kepthimself also to the simple and very touching circum-stances of the incident. Even in the enthusiasm ofpainting a great decoration, he preserved his regard fortruth. So it was not because of ignorance of what ot
How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . on in which gods andgoddesses and allegorical figures mingle with the actualpersonages. Velasquez, on the contrary, while keepingin mind the decorative necessities of the canvas, kepthimself also to the simple and very touching circum-stances of the incident. Even in the enthusiasm ofpainting a great decoration, he preserved his regard fortruth. So it was not because of ignorance of what other greatpainters had done, or of what he himself could do torival them on their own ground,—for The Surrender ofBreda could hang without loss of dignity beside a Titian,—that he turned his back upon all traditions of the Ital-ian grand style, and in the years of his maturity pro-duced The Maids of Honor, a new kind of picture. Itwas new because it was the product of a new kind ofartists eyesight; of a new conception of realism. We have seen in Holbeins Portrait of Georg Gyzean example of that kind of realism which is solely occu-pied in giving a faithful representation of the figure and [ 184 ]. DESCENT FROM TPIE CROSS ANTWERP CATHEDRAL RUBENS
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
