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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ... the work it was in the collection of Leopold Goldschmidt in Paris. 50 PORTRAIT OF AN OLD MAN By Hans Memling About 1430-1494 This picture is worthier of Memling's reputation as portraitist than are the likenesses of Portinari and his wife. Like them it was shown at the Exhibition of Flemish Primitives in Bruges in 1902. It was there ascribed by its owner, Baron Albert Oppenheim, to Jan Van Eyck. James Weale speaks of it as "remarkably fine but of a later date than Van Eyck and probably the work of a German painter." Georges Hulin in the catalogue of the exhibition pointed out that it could not be by Van Eyck and was much nearer to the work of Memling, and the attribution there tentatively suggested has been since generally accepted. According to the students, it is an early work, as early perhaps as the Triptych of Sir John Donne mentioned in connection with the Betrothal of Saint Catherine.' But early as it may be, there is no uncertainty in the modeling or characterization. Without Van Eyck's miraculous power of rendering what was before him, Memling in his portraits shows convincing reality and at the same time an ability in interpreting personality, according to his own conception, which the greater master did not attempt. Memling's opinion of the old gentleman who posed for him is clearly read in the likeness he painted. Humor and sharpness, wisdom and tolerance were the qualities he found in his kindly sitter, and these he has fixed in the portrait. 51 (in Case B) CHRIST TAKING LEAVE OF HIS MOTHER By Gerard David ABOUT I460-I523 The earliest mention of Gerard David that has come down to us is found in Guicciardini's Description of the Low Countries, 1528, in which his name occurs in the list of prominent painters "also Gerard, ...
A study of the condition, subject, design, manufacture, ownership, and exhibitions for each tapestry or set of tapestries in the Museum's medieval tapestry collection. -- Metropolitan Museum of Art.
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.
