Brooklyn Museum Quarterly . THE BROTHERHOOD OF CHRIST CRUCIFIEDFrom the painting by IGNACIO ZULOAGA in the exhibition at the Brooklyn WOMEN OF SEPULVEDAFrom the painting by IGNACIO ZULOAGA in tlie exiiibition at tine Brooi<lyn IVluseum. tonality of the old masters in large compositions, without imi-tating or copying the appearance of their paintings in otherparticulars. There have been many masters of the low tonein modern art, but not, to my knowledge, among the painterswho have worked in large compositions, aside from Mun-kacsey, whose tone was not as harmonious, and whose genera
Brooklyn Museum Quarterly . THE BROTHERHOOD OF CHRIST CRUCIFIEDFrom the painting by IGNACIO ZULOAGA in the exhibition at the Brooklyn WOMEN OF SEPULVEDAFrom the painting by IGNACIO ZULOAGA in tlie exiiibition at tine Brooi<lyn IVluseum. tonality of the old masters in large compositions, without imi-tating or copying the appearance of their paintings in otherparticulars. There have been many masters of the low tonein modern art, but not, to my knowledge, among the painterswho have worked in large compositions, aside from Mun-kacsey, whose tone was not as harmonious, and whose generalresults were far inferior to Zuloagas. In the matter ofcolor schemes Zuloaga may lay claim to complete originality,not only as against the old masters, but also as against themoderns. The novelty of these color combinations is as un-deniable as the fact that they are vastly successful in thedecorative sense, and the additional fact that they are whollywithin the limits of matter of fact reality or probability. Asan example, The Cardinal may once more be cited; withstrong color patterns in the carpet, the tablecloth and thecurtain, besi
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Keywords: ., bookcentury1900, bookdecade1910, bookidbrooklynmuseumqu46broouof
