Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art (Vol. 3 of 3) by S. Spooner (best ebook reader under 100 TXT) 📖
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most finished and beautiful of her works. She was also visited by her
former charge, the Infanta, then the wife of the Archduke Albert, and
with him co-sovereign of Flanders. That princess spent many hours in
conversing with her of by-gone days and family affairs; she also sat for
her portrait, and presented Sofonisba with a gold chain enriched with
jewels, as a memorial of their friendship. Thus courted in the society
of Genoa, and caressed by royalty, this eminent paintress lived to the
extreme age of ninety-three years. A medal was struck in her honor at
Bologna; artists listened reverentially to her opinions; and poets sang
her praises. Though deprived of sight in her latter years, she retained
to the last her other faculties, her love of art, and her relish for the
society of its professors. Vandyck was frequently her guest during his
residence at Genoa, in 1621; and he used to say of her that he had
learned more of the practical principles of the art from a blind woman,
than by studying all the works of the best Italian masters.
CARRIERA ROSALBA.
This celebrated Italian paintress was born at Chiozza, near Venice, in
She acquired an immense reputation, and was invited to several ofthe courts of Europe. Few artists have equalled Rosalba in crayon
painting.
ROSALBA'S MODESTY.
Notwithstanding she received so many flattering marks of distinction
from crowned heads, Rosalba's native modesty never deserted her, and she
seemed to esteem her works less than did many of her admirers, because
she was sensible how far she fell short of her idea of perfection.
"Everything I do," said she, "seems good enough to me just after I have
done it, and perhaps for a few hours afterwards, but then I begin to
discover my imperfections!" Thus it is with true merit; those who are
superficial or pretending can never find out, or never will acknowledge
their own faults.
ROSALBA'S KNOWLEDGE OF TEMPERS.
Rosalba used to say, "I have so long been accustomed to study features,
and the expression of the mind by them, that I know people's tempers by
their faces." She frequently surprised her friends by the accuracy of
character which she read in the faces of persons who were entire
strangers to her.
ELIZABETH SIRANI.
Elizabeth Sirani was born at Bologna in 1638. She early exhibited the
most extraordinary talent for painting, which was perfectly cultivated
by her father, Gio. Andrea Sirani, an excellent disciple and imitator of
Guido. She attached herself to an imitation of the best style of Guido,
which unites great relief with the most captivating amenity. Her first
public work appeared in 1655, when she was seventeen years of age. It is
almost incredible that in a short life of not more than twenty-six or
twenty-seven years, she could have executed the long list of works
enumerated by Malvasia, copied from a register kept by herself,
amounting to upwards of one hundred and fifty pictures and portraits;
and our astonishment is increased, when we are told by the same author,
that many of them are pictures and altar-pieces of large size, and
finished with a care that excludes all appearance of negligence and
haste. There are quite a number of her works in the churches of Bologna.
Lanzi also speaks of her in terms of high commendation, and says, that
"in her smaller works, painted by commission, she still improved
herself, as may be seen by her numerous pictures of Madonnas, Magdalens,
saints, and the infant Saviour, found in the Zampieri, Zambeccari, and
Caprara palaces at Bologna, and in the Corsini and Bolognetti
collections at Rome." She received many commissions from many of the
sovereigns and most distinguished persons of Europe. She had two
sisters, Anna and Barbara, whom, according to Crespi, she instructed in
the art, and who possessed considerable talent. Her fame was so great,
that after her death not only the works of her sisters, but many of
those of her father, were attributed to her. Lanzi says, "She is nearly
the sole individual of the family whose name occurs in collections out
of Bologna." She also executed some spirited etchings mostly from her
own designs.
DEATH OF ELIZABETH SIRANI.
This accomplished, amiable, and talented lady was cut off in the flower
of her life, August 29th, 1665, by poison, administered by one of her
own maids, instigated, as is supposed, by some jealous young artists.
Her melancholy death was bewailed with demonstrations of public sorrow,
and her remains were interred with great pomp and solemnity in the
church of S. Domenico, in the same vault where reposed the ashes of
Guido.
RACHEL RUYSCH.
This celebrated paintress of fruit and flowers was born at Amsterdam in
She was the daughter of Frederick Ruisch or Ruysch, the celebratedprofessor of anatomy. She early showed an extraordinary taste for
depicting fruit and flowers, and attained to such perfection in her
art, that some have not hesitated to equal and even prefer her works to
those of John van Huysum. She grouped her flowers in the most tasteful
and picturesque manner, and depicted them with a grace and brilliancy
that rivalled nature. Descamps says that "in her pictures of fruit and
flowers, she surpassed nature herself." The extraordinary talents of
this lady recommended her to the patronage of the Elector Palatine--a
great admirer of her pictures--for whom she executed some of her
choicest works, and received for them a munificent reward. Though she
exercised her talents to an advanced age, her works are exceedingly
rare, so great was the labor bestowed upon them. She spent seven years
in painting two pictures, a fruit and a flower piece, which she
presented to one of her daughters as a marriage portion. She married
Jurian Pool, an eminent portrait painter, by whom she had ten children;
she is frequently called by his name, though she always signed her
pictures with her maiden name. Smith, in his Catalogue raisonné, vols.
and ix., gives a description of only about thirty pieces by her--aproof of their extreme rarity. They now command very high prices when
offered for sale, which rarely happens. She died in 1760, aged 86 years.
SIR ANTHONY VANDYCK.
This eminent Flemish painter was born at Antwerp in 1599. His father
early gave him instruction in drawing; he was also instructed by his
mother, who painted landscapes, and was very skillful in embroidery. He
studied afterwards under Henry van Balen, and made rapid progress in the
art; but attracted by the fame of Rubens, he entered the school of that
master, and showed so much ability as to be soon entrusted with the
execution of some of his instructor's designs. Some writers, among whom
D'Argenville was the first, assert that Rubens became jealous of
Vandyck's growing excellence, and therefore advised him to devote
himself to portrait painting; assigning the following anecdote as the
cause of his jealousy. During the short absences of Rubens from his
house, for the purpose of recreation, his disciples frequently obtained
access to his studio, by means of bribing an old servant who kept the
keys; and on one of these occasions, while they were all eagerly
pressing forward to view the great picture of the Descent from the Cross
(although later investigations concerning dates seem to indicate that it
was some other picture), Diepenbeck accidentally fell against the
canvas, effacing the face of the Virgin, and the Magdalen's arm, which
had just been finished, and were not yet dry. Fearful of expulsion from
the school, the terrified pupils chose Vandyck to restore the work, and
he completed it the same day with such success that Rubens did not at
first perceive the change, and afterwards concluded not to alter it.
Walpole entertains a different and more rational view respecting
Rubens' supposed jealousy: he thinks that Vandyck felt the hopelessness
of surpassing his master in historical painting, and therefore resolved
to devote himself to portrait. One authority states that the above
mentioned incident only increased Rubens' esteem for his pupil, in
perfect accordance with the distinguished character for generosity and
liberality, which that great master so often evinced, and which forms
very strong presumptive evidence against so base an accusation. Besides,
his advice to Vandyck to visit Italy--where his own powers had been, as
his pupil's would be, greatly strengthened--may be considered as
sufficient to refute it entirely. They appear to have parted on the best
terms; Vandyck presented Rubens with an Ecce Homo, Christ in the Garden,
and a portrait of Helen Forman, Rubens' second wife; he was presented in
return, by Rubens, with one of his finest horses.
VANDYCK'S VISIT TO ITALY.
At the age of twenty, Vandyck set out for Italy, but delayed some time
at Brussels, fascinated by the charms of a peasant girl of Saveltheim,
named Anna van Ophem, who persuaded him to paint two pictures for the
church of her native place--a St. Martin on horseback, painted from
himself and the horse given him by Rubens; and a Holy Family, for which
the girl and her parents were the models. On arriving in Italy, he
spent some time at Venice, studying with great attention the works of
Titian; after which he visited Genoa, and painted many excellent
portraits for the nobility, as well as several pictures for the churches
and private collections, which gained him great applause. From Genoa he
went to Rome, where he was also much employed, and lived in great style.
His portrait of Cardinal Bentivoglio, painted about this time, is one of
his masterpieces, and in every respect an admirable picture; it is now
in the Palazzo Pitti, at Florence, hanging near Raffaelle's celebrated
portrait of Leo X. Vandyck was known at Rome as the _Pittore
Cavalieresco_; his countrymen there being men of low and intemperate
habits, he avoided their society, and was thenceforward so greatly
annoyed by their criticisms and revilings, that he was obliged to leave
Rome about 1625, and return to Genoa, where he met with a flattering
reception, and plentiful encouragement. Invited to Palermo, he visited
that city, and painted the portraits of Prince Philibert of Savoy, the
Viceroy of Sicily, and several distinguished persons, among whom was the
celebrated paintress Sofonisba Anguisciola, then in her 92d year; but
the plague breaking out, he returned to Genoa, and thence to his own
country.
VANDYCK'S RETURN TO ANTWERP.
On his return to Antwerp, whither his reputation had preceded him,
Vandyck was speedily employed by various religious societies, and his
picture of St. Augustine for the church of the Augustines in that city,
established his reputation among the first painters of his time. He
painted other historical pictures, for the principal public edifices at
Antwerp, Brussels, Mechlin, and Ghent; but acquired greater fame by his
portraits, particularly his well known series of the eminent artists of
his time, which were engraved by Vorstermans, Pontius, Bolswert, and
others. His brilliant reputation at length roused the jealousy of his
cotemporaries, many of whom were indefatigable in their intrigues to
calumniate his works. In addition to these annoyances, the conduct of
the canons of the Collegiate church of Courtray, for whom he painted an
admirable picture of the Elevation of the Cross, proved too much for his
endurance. After he had exerted all his powers to produce a masterpiece
of art, the canons, upon viewing the picture, pronounced it a
contemptible performance, and the artist a miserable dauber; and Vandyck
could hardly obtain payment for his work. When the picture had received
high commendation from good judges, they became sensible of their error,
and requested him to execute two more works; but the indignant artist
refused the commission. Disgusted with such treatment, Vandyck readily
accepted an invitation to visit the Hague, from Frederick, Prince of
Orange, whose portrait he painted, and those of his family, the
principal personages of his court, and the foreign ambassadors.
VANDYCK'S VISIT TO ENGLAND.
Hearing of the great encouragement extended to the arts by Charles I.,
he determined to visit England in 1629. While there, he lodged with his
friend and countryman, George Geldorp the painter, and expected to be
presented to the king; but his hopes not being realized, he visited
Paris; and meeting no better success there, be returned to his own
country, with the intention of remaining there during the rest of his
life. Charles, however, having seen a portrait by Vandyck, of the
musician, Fic. Laniere, director of the music of the king's chapel,
requested Sir Kenelm Digby to invite him to return to England.
Accordingly, in 1631, he arrived a second time at London, and was
received by the king in a flattering manner. He was lodged at
Blackfriars, among the King's artists, where his majesty frequently went
to sit for his portrait, as well as to enjoy the society of the painter.
The honor of knighthood was conferred upon him in 1632, and the
following year he was appointed painter to the king, with an annuity of
£200.
Prosperity now flowed in upon the Fleming in abundance, and although he
operated with the greatest industry and facility, painting single
portraits in one day, he could hardly fulfill all his commissions.
Naturally
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