Brooklyn Museum Quarterly . , seen through a win-dow which is sometimes of such proportions that the land-scape is part of the composition of the painting. In the en-tire art of the last hundred years there is nothing to parallelthe portrait figure of the seated Cardinal w^ith his clericalattendant, which is actually balanced by a cliff rising out ofthe landscape in the background, as seen through a windowin the rear of the apartment. Preferably, however, the figuresubjects, including the individual full length portraits, arenot only posed in the open air, but are placed on an eminencein such
Brooklyn Museum Quarterly . , seen through a win-dow which is sometimes of such proportions that the land-scape is part of the composition of the painting. In the en-tire art of the last hundred years there is nothing to parallelthe portrait figure of the seated Cardinal w^ith his clericalattendant, which is actually balanced by a cliff rising out ofthe landscape in the background, as seen through a windowin the rear of the apartment. Preferably, however, the figuresubjects, including the individual full length portraits, arenot only posed in the open air, but are placed on an eminencein such a way that the background shows the landscape asseen from an elevation. This is one element of the com-manding effect of the figures in such cases, because theydominate the scene in which they appear. Much has been said of the analogies between the mostfamous older Spanish painters and this modern Spaniard,but what appears to the writer as of main importance is thatthis painter alone among modern artists has revived the low. THE BROTHERHOOD OF CHRIST CRUCIFIEDFrom the painting by IGNACIO ZULOAGA in the exhibition at the Brooklyn Museum.
Size: 1757px × 1422px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidbrooklynmuseumqu46broouof
