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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frenzy, he performed miracles, according to Palomino, in the field of
battle-pieces, throwing off many bold and spirited pictures of Pharaoh
and his host struggling in the angry waters, or mailed Christians
quelling the turbaned armies of the Crescent. Few will withhold from him
the praise of Bermudez, for brilliancy of coloring, and for the skill
with which the dust, smoke, and dense atmosphere of the combat are
depicted.
MARCH'S ADVENTURE OF THE FISH FRIED IN LINSEED OIL.
Palomino says that March had gone out one day, leaving neither meat nor
money in the house, and was absent till past midnight, when he returned
with a few fish, which he insisted on having instantly dressed for
supper. His wife said there was no oil; and Juan Conchillos, one of his
pupils, being ordered to get some, objected that all the shops were shut
"Then take linseed oil," cried the impetuous March, "for, _porDios_, I will have these fish presently fried." The mess was therefore
served with this unwonted sauce, but was no sooner tasted than it began
to act as a vigorous emetic upon the whole party, "for indeed," gravely
writes Palomino, "linseed oil, at all times of a villainous flavor, when
hot is the very devil." Without more ado, the master of the feast threw
fish and frying-pan out of the window; and Conchillos, knowing his
humor, flung the earthen chafing-dish and charcoal after them. March was
delighted with this sally, and embracing the youth, he lifted him from
the floor, putting him in bodily fear, as he after wards told Palomino,
that he was about to follow the coal and viands into the street. As for
the poor weary wife, she thought of her crockery, and remarking in a
matter of-fact way, "What shall we have for supper now?" went to bed;
whither her husband, pleased with the frolic of spoiling his meal and
breaking the dishes, seems to have followed her in a more complacent
mood than common.
A PAINTER'S REBUKE.
José Antonilez, a Spanish painter, studied under Francisco Rizi at
Madrid. When the latter was occupied in preparing some new scenery for
the theatre at Buon Retiro, Antonilez spoke of him as a painter of
foot-cloths--an expression which was soon communicated to his master.
Rizi immediately administered a wholesome practical rebuke, by
commanding the attendance of Antinolez on his Majesty's service, and
ordering him to execute a piece of painting in distemper. The unlucky
wag, being quite ignorant of the mode of performing the work, and too
proud to confess it, worked for a whole day, at the end of which he had
merely spoiled a large piece of canvas. "So, sir," said Rizi, quietly,
"you see painting foot-cloths is not so easy after all;" and turning to
his servant, added, "here, boy, take this canvas and carry it to the
cistern to be washed."
A PAINTER'S RETORT COURTEOUS.
Jean Ranc, an eminent French portrait painter, was sometimes annoyed by
impertinent and vexatious criticism. Having exhausted all his talent
upon a particular portrait, the friends of the sitter refused to be
pleased, although the sitter himself appears to have been well
satisfied. In concert with the latter, Ranc concerted a plan for a
practical retort. After privately painting a copy of the picture, he cut
the head out of the canvas, and placed it in such a position that the
original could supply the opening with his own veritable face,
undetected. After all was ready, the cavilers were invited to view the
performance, but they were no better pleased. Falling completely into
the snare, the would-be critics were going on to condemn the likeness,
when the relaxing features and hearty laughter of the supposed portrait,
speedily and sufficiently avenged the painter of their fastidiousness.
ARDEMANS AND BOCANEGRA--A TRIAL OF SKILL.
These Spanish painters contended in 1689 for the office of Master of the
Works in the Cathedral of Granada. Bocanegra was excessively vain and
overbearing, and boasted his superiority to all the artists of his time;
but Ardemans, though a stranger in Granada, was not to be daunted, and a
trial of skill, "a duel with pencils," was accordingly arranged between
them, which was, that each should paint the other's portrait. Ardemans,
who was then hardly twenty-five years of age, first entered the lists,
and without drawing any outline on the canvas, produced an excellent
likeness of his adversary in less than an hour. Bocanegra, quite daunted
by this feat, and discouraged by the applause accorded to his rival by
the numerous spectators, put off his own exhibition till another day,
and in the end utterly failed in his attempt to transfer the features of
his rival to canvas. His defeat, and the jeers of his former admirers,
so overwhelmed him with mortification, that he died shortly after.
A PAINTER'S ARTIFICE TO "KEEP UP APPEARANCES."
The Spanish painter Antonio Pereda married Doña Maria de Bustamente, a
woman of some rank, and greater pretension, who would associate only
with people of high fashion, and insisted on having a duenna in constant
waiting in her antechamber, like a lady of quality. Pereda was not rich
enough to maintain such an attendant; he therefore compromised matters
by painting on a screen an old lady sitting at her needle, with
spectacles on her nose, and so truthfully executed that visitors were
wont to salute her as they passed, taking her for a real duenna, too
deaf or too discreet to notice their entrance!
A GOOD-NATURED CRITICISM.
Bartolomeo Carducci, who was employed in the service of the Spanish
court for many years, was expressing one day his admiration of a newly
finished picture by a brother artist, when one of his own scholars drew
his attention to a badly executed foot. "I did not observe it," replied
he, "it is so concealed by the difficult excellence of this bosom and
these hands"--a piece of kindly criticism that deserves to be recorded.
ALONSO CANO AND THE INTENDANT OF THE BISHOP OF MALAGA.
The Bishop of Malaga, being engaged in improving his Cathedral church,
invited Cano to that city, for the purpose of designing a new tabernacle
for the high altar, and new stalls for the choir. He had finished his
plans, very much to the prelate's satisfaction, when he was privately
informed that the Intendant of the works proposed to allow him but a
very trifling remuneration. "These drawings," said Cano, "are either to
be given away, or to fetch 2,000 ducats;" and packing them up, he
mounted his mule, and took the road to Granada. The niggardly Intendant,
learning the cause of his departure, became alarmed, and sent a
messenger after him post-haste, offering him his own price for the
plans!
CANO'S LOVE OF SCULPTURE.
Skillful as Cano was with the pencil, he loved the chisel above all his
other artistic implements. He was so fond of sculpture that, when
wearied with painting, he would take his tools, and block out a piece of
carving. A disciple one day remarking that to lay down a pencil and take
up a mallet, was a strange method of repose, he replied, "Blockhead!
don't you see that to create form and relief on a flat surface, is a
greater labor than to fashion one shape into another?"
CASTILLO'S SARCASM ON ALFARO.
Juan de Alfaro first studied under Antonio del Castillo at Seville, and
subsequently in the school of Velasquez at Madrid. After his return to
Seville, he was wont to plume himself upon the knowledge of art which he
had acquired in the school of that great painter; and he also signed all
his pictures in a conspicuous manner, "_Alfaro, pinxit_." This was too
much for Castillo, and he accordingly inscribed his Baptism of St.
Francis, executed for the Capuchin convent, where his juvenile rival was
likewise employed, "_Non pinxit Alfaro_." Years after, Palomino became
sufficiently intimate with Alfaro, to ask him what he thought of
Castillo's sarcastic inscription. "I think," replied the unabashed
object of the jest, "that it was a great honor for me, who was then a
beardless boy, to be treated as a rival by so able an artist."
TORRES' IMITATIONS OF CARAVAGGIO.
Matias de Torres, a Spanish painter, affected the style of Caravaggio.
His compositions were half veiled in thick impenetrable shadows, which
concealed the design, and sometimes left the subject a mystery.
Francisco de Solis was standing before one of them, in the church of
Victory at Madrid, representing a scene from the life of St. Diego, and
was asked to explain the subject depicted. "It represents," said the
witty painter, "_San Brazo_," St. Arm, nothing being distinguished but
the arm of a mendicant in the background.
PANTOJA AND THE EAGLE.
Palomino relates that a superb eagle, of the bearded kind, having been
captured in the royal chase, near the Prado, the king (Philip III.) gave
orders to Pantoja to paint its likeness, which he did with such
truthfulness that the royal bird, on seeing it, mistook it for a real
eagle, and attacked the picture with such impetuosity that he tore it in
pieces with his beak and talons before they could secure him. The
indignant bird was then tied more carefully, and the portrait painted
over again.
THE PAINTER METHODIUS AND THE KING OF BULGARIA.
Pacheco relates a remarkable effect produced by a picture from the
pencil of Methodius, who resided at Constantinople about 854. He was
invited to Nicopolis by Bogoris, king of the Bulgarians, to decorate a
banqueting-hall in his palace. That prince left the choice of his
subject to the artist, limiting him to those of a tragic or terrible
character. The sister of Bogoris, during a long captivity at
Constantinople, had become a convert to the Greek church, and greatly
desired that her brother should renounce paganism; therefore it was
probably at her instance, in this case, that Methodius painted the Last
Judgment. He succeeded in depicting the glories of the blessed and the
pains of the damned in such a fearful manner, that the heathen king was
induced in his terror to send for a Bishop, and signify his willingness
to unite with the Greek church; and the whole Bulgarian nation soon
followed his example.
JOHN C. VERMEYEN AND CHARLES V.
This Dutch painter was invited to Spain by Charles V., and accompanied
that monarch on his expedition to Tunis, of which he preserved some
scenes that were afterwards transferred to Brussels tapestries. He
followed the court for many years, and exercised his art with honor and
profit, in portrait, landscape, and sacred subjects. The palace of the
Prado was adorned with a number of his works, particularly eight
pictures representing the Imperial progresses in Germany, and Views of
Madrid, Valladolid, Naples, and London; all of which perished in the
fire of 1608. Vermeyen was an especial favorite of Charles V., who
ordered his bust to be executed in marble, "for the sake of the gravity
and nobleness of his countenance." He was very remarkable for his long
beard, which gained him the surname of _El Barbudo_ or _Barbalonga_. In
fact, so very lengthy was this beard, that Descamps says the Emperor in
his playful moods used to amuse himself by treading on it, as it trailed
on the ground!
BLAS DE PRADO AND THE EMPEROR OF MOROCCO.
In 1593 the Emperor of Morocco applied to Philip II. for the loan of a
painter, to which the latter made answer that they had in Spain two
sorts of painters--the ordinary and the excellent--and desired to know
which his infidel brother preferred. "Kings should always have the
best," replied the Moor; and so Philip sent him Blas de Prado to Fez.
There he painted various works for the palace, and a portrait of the
monarch's daughter, to the great satisfaction of her father. After
keeping the artist several years in his service, the emperor finally
sent him away, with many rich gifts; and he returned to Castile with
considerable wealth. The Academy of San Ferdinando possesses a fine work
by him, representing the Virgin and Infant seated in the clouds.
DON JUAN CARRENO
This Spanish painter was a favorite with King Charles II. He was
painting his Majesty's portrait one day in the presence of the Queen
mother, when the royal sitter asked him to which of the knightly orders
he belonged. "To none," replied the artist, "but the order of your
Majesty's servants." "Why is this?" said Charles. The Admiral of
Castile, who was standing by, replied that he should have a cross
immediately; and on leaving the royal presence, he sent Carreño a rich
badge of Santiago, assuring him that what the king had said entitled him
to wear it. Palomino says, however, that the artist's modesty prevented
him from accepting the proffered honor. His royal master continued to
treat him with unabated regard, and would allow no artist to paint him
without Carreño's permission.
CARRENO'S COPY OF TITIAN'S ST. MARGARET.
Palomino was one day in company with Carreño at the house of Don Pedro
de Arce, when a discussion arose about the merits of a certain copy of
Titian's St.
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