. A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910) . the state portrait. And, then, there is the winning charm, acertain wistfulness in the face, which the Hampden Houjc version lacks. Thelatter is, on the (ither hand, infinitely superior to the Genoese picture inpreservation, as in the transparency and sovereign beauty of the colour.— 85 Claude Phillips in an article on Van Dyck at Burlington House, in the yirtJournal, March 1900, p. 68. Canvas. 90 in. X 60^ in. ( X ). She wa
. A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910) . the state portrait. And, then, there is the winning charm, acertain wistfulness in the face, which the Hampden Houjc version lacks. Thelatter is, on the (ither hand, infinitely superior to the Genoese picture inpreservation, as in the transparency and sovereign beauty of the colour.— 85 Claude Phillips in an article on Van Dyck at Burlington House, in the yirtJournal, March 1900, p. 68. Canvas. 90 in. X 60^ in. ( X ). She was the wife of Antonio Giulio, Marchese di Brignole-Sala, son of aDoge of Genoa and Ambassador to Philip IV of Spain. Lionel Cust: Van Dyck, 1900, p. 40. Mario Menotti : Van Dyck aGenova, in Archivio Storico deW Arte, serie seconda, 1897, p. 451. Exhibited at Burlington House, Old Masters, 1896, No. 113; also atAntwerp, Van Dyck Exhibition, 1899, No. 44; also at Burlington House,1900, No. 62. A variant of this picture is in the Palazzo Rosso, Genoa. For anotherportrait of the Marchesa, see No. 55 in this Exhibition. Lent by the Duke of Abercorn, S6. 59TITIAN: 1489(?).1576 Venetian SchoolPORTRAIT OF GIACOMO DORIA HE has a long black, beard ; he is standing almost in full-face, andis dressed in black. His left thumb is thrust into his girdle,and he holds his robe with his right. Three-quarter length. Thebase of a column in the ritj;ht background. A hitherto unknown portrait from the brush of the great Venetian, andone moreover which for essential dignity bears comparison with more famouscreations of its author. ... It is a manly rendering of a manly figure,straightforward, impressive and dignified, a typical Titian. The great Venetiancould paint a gentleman as no one else.—Burlington Ma^azine, vol. i. 1903,p. 185, Mr. Herbert Cook on Three Unpublished Italian Portraits. It cannot have been painted earlier than 1550, but very likely it is about1560, as there is a strong li
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