A History of Art for Beginners and Students by Clara Erskine Clement Waters (grave mercy .txt) 📖

inscribed, in Latin, “Lest the earth should be heavy upon the remains of his father, Anthony Vandyck moved this rock to the foot of the cross, and gave it to this place.” When the monasteries were broken up, this picture was purchased for two thousand seven hundred dollars for the Antwerp Academy, where it now is.

At length Vandyck prepared to set out for Italy. When he paid his farewell visit to Rubens he presented the master with three of his pictures, and in return Rubens gave him one of his finest horses. As Vandyck was on his way from Antwerp to Brussels he halted at the village of Saventhem, where he fell in love with Anna van Ophem, and so stayed on in the lovely valley of Flanders, week after week, as if he had forgotten that Italy existed. Anna persuaded him to paint a picture for the village church, and he executed a Holy Family in which the Virgin was a portrait of Anna, and St. Joachim and St. Anna were drawn from her father and mother. This picture pleased the church authorities so much that they gave the young painter an order for another, which represented St. Martin dividing his cloak with beggars. In this work the saint was a portrait of Vandyck, and the horse on which he rode was like that which Rubens had given him.

This picture has quite a history. In 1758 the priest agreed to sell it to a collector from the Hague for one thousand eight hundred dollars; but when the villagers knew of it they surrounded the church with clubs and pitchforks, and drove the purchaser away. In 1806, when the French invaders tried to carry it away, the people again prevented it, and they were forced to call more soldiers from Brussels before they succeeded in taking it. The St. Martin was placed in the Gallery of the Louvre, at Paris, but was restored to Saventhem in 1815. About 1850 a rich American offered twenty thousand dollars for the picture, no matter who brought it to him. Upon this a set of rogues tried to steal it at night; but the dogs of the village gave such an alarm that the town was roused, and the robbers escaped with difficulty. Since then a guardian sleeps in the church, and the St. Martin is still there.

The news that Vandyck was thus lingering on his way to Italy reached the ears of Rubens, and he sent such urgent messages to his pupil as induced him to continue his journey, and he also sent him letters of introduction to artists and to nobles whom the master had known when he made his studies beyond the Alps.

Vandyck went first to Venice, where he worked hard to copy and learn to imitate the rich color and refined manner of Titian and other Venetian masters. He also painted some original pictures in Venice, and made many portraits which gave him fame in that and other cities. He was asked to go to other places for the painting of portraits; but he remained in Venice until his money was spent, and then went to Genoa, where he was well received and generously employed by the old friends of Rubens. His works are still to be seen in some of the palaces of that city, while some have been sold and carried to other countries—they were so fine that they still maintain the name which they gained for him when they were executed. The principal work done in Genoa was a picture of the Lomellini family which is now in Edinburgh; it is about nine feet square. His different visits to Genoa during his absence in Italy make up a period of about three years, and he did a vast amount of work there.

When he first went to Rome Vandyck was invited to the house of Cardinal Bentivoglio, who had been papal nuncio to Flanders, and for whom our artist made a picture of the Crucifixion. The full-length portrait which Vandyck painted of the cardinal is now in Florence; a copy of it is in one of the halls of Harvard College. It is one of the finest among the many splendid portraits by this great master.

Vandyck was fascinated with Rome, but he was so unpopular with the other Flemish painters there that he shortened his stay in the Eternal City in order to escape the vexations he there received. The artists disliked him for his ostentation, and he was called Il pittore cavalieresco—and he offended them by declining to associate with them at taverns or to join their coarse festivities. After leaving Rome he visited Palermo, from which place he was driven away by the appearance of the plague. He returned to Genoa, visited Florence and other cities in the north of Italy, and finally returned to Antwerp after an absence of four years.

During the first years after his return he met with small success—Rubens was so great that he filled all the space about him—but at last, in 1628, Vandyck began to receive important commissions, and from this time was constantly busy with works for the churches of the Low Countries. He also painted portraits of many notable persons, and made great numbers of them in brown and white for the use of engravers. While Vandyck was thus executing great numbers of fine pictures for the embellishment of Flanders, he became so unpopular and his rivals said such hard things of him that he determined to go away. One of his unfortunate experiences was in the house of the bishop, who had sent for him to paint his portrait. Vandyck had first sent his implements to the care of the porter of the palace. When he went himself he was taken into the presence of the bishop, who was reclining on a sofa, and gave little attention to the artist. At last the bishop asked if he had not come to paint his portrait. Vandyck declared himself to be quite at the service of his lordship. “Why, then,” said the bishop, “do you not go for your implements? Do you expect me to fetch them for you?” Vandyck calmly replied, “Since you have not ordered your servants to bring them I supposed that you wished to do it yourself.” Then the bishop leaped up in anger and cried out, “Anthony, Anthony, you are a little asp, but you have a great deal of venom!” Vandyck thought it safe to make his escape, and after he crossed the threshold he called back, “My lord Van der Burch, you are a voluminous personage, but you are like the cinnamon tree. The bark is the best part of you.”

In 1629 Vandyck went to England with the hope of being employed by King Charles I.; but he was not able even to get an introduction to the sovereign, and went to the continent filled with mortification. At length, however, Charles called him to London, whither he went in 1632, and soon became the friend of the king as well as his favorite artist. He was assigned a city and a country residence, and within three months of the time of his arrival at court the king knighted him, and gave him a gold chain with a portrait of himself set in brilliants suspended from it. Charles was in the habit of passing much time with Vandyck, and the studio of the court-painter became one of the most fashionable resorts in London for the courtiers and other distinguished people.

Vandyck kept up a fine establishment, and lived luxuriously. He had a habit of asking his sitters to dinner; thus he could study their faces and retouch their portraits with the more natural expressions of their conversational hours, for it is rare that one is natural when posing before an artist who is painting one’s portrait. But in the midst of his busy life as an artist and his gay life as a man of the world, Sir Anthony did not forget the needs of his brother painters. There was at that time no club or place where artists met socially to consult and aid each other in their profession. Vandyck founded the Club of St. Luke; it met at the Rose Tavern, and all painters of talent living in London joined it. One of the more personal acts of kindness which are related of him is that having seen by chance a picture which was painted by William Dobson, Vandyck sought him out, found him in a poor garret, instructed him with great care, introduced him to the king, and, in short, by his kind offices so prepared the way that Dobson was made sergeant-painter to the king after Vandyck’s death, and won the title of “the English Tintoretto.”

The portraits which Vandyck executed in England are numbered by hundreds and are magnificent pictures. Those of the royal family are very numerous and important, and there is scarcely a man or woman belonging to this period whose name has come down to us in history or literature, whose portrait he did not paint. He also made thirteen portraits of himself which are still preserved. He was very skilful in painting horses and dogs, and frequently introduced these animals into his portrait groups.

There is a large collection of the pictures of Vandyck at Windsor Castle; there are many also in the private galleries of Great Britain and other countries, besides a goodly number in the public galleries of Europe. He executed at least thirty-six portraits of Charles I., as many as twenty-five of Queen Henrietta Maria, and he also painted several groups of the children of the royal pair. Prince Rupert of the Rhine and Thomas Wentworth, Earl of Strafford, were also frequently portrayed by him, and one of his most important large works was a family picture of the Earl of Pembroke and his household. It is called the Wilton Family, as it is in a salon at Wilton House; it contains eleven figures, and has been called “the first and most magnificent historic portraiture in the world.” Again, it is said to be stiff, wanting in harmony, bad in color, and so on, but after all it still remains a splendid monument to the skill and genius of Vandyck. The picture is twenty feet long by twelve feet high.

Vandyck painted no portraits of the Puritans nor popular leaders of his day; neither did he of the literary men who flourished at that time, with the exception of the court poets, Sir John Suckling and Thomas Carew.

I shall not give a list of Vandyck’s historical and religious pictures, though they are quite numerous. They are not as interesting as his portraits, and we have not space to give them. His ambition, however, was never satisfied, for he wished to do some great historical work. At one time his opportunity seemed to have come, for the great banqueting-room of Whitehall Palace, the ceiling of which Rubens had painted, still remained with plain walls. Vandyck desired to paint on them the history of the Order of the Garter. The project was laid before the king, and he desired sketches to be made for the work, and one of them, the “Procession of the Knights of the Garter,” was sold after the execution of the king for five pounds. It was owned by Sir Peter Lely and Sir Joshua Reynolds, and is now at Belvoir in the collection of the Duke of Rutland. We cannot help being sorry for Vandyck’s great disappointment when he knew that his work could not be done. He was weak in health and much in debt, for the king could not pay him his pension nor what he owed him for pictures. The artist grew sad and discouraged. He sought relief in the study of alchemy, and