The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection (1907) (14777051631)

Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN



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that is almost like the substance ofa dream. The sweet, slender girl and the polite,smiling Cupid are among the loveliest of fanta-sies. The atmosphere is unusually soft, and thetones so golden and peachy, leading into tendergreens and a strange, dull puce-colour, that one feelsthat any criticism is unfair except such as shallrecognize it either as a jewel or as a vision. A gentleman of Bologna once asked Guido Reniwhere he got his lovely models, whom he assuredlykept to himself, for no other artist knew who theymight be! Guido replied, in a mysterious tone, Do you come to my studio, signor, and I willshow you my beautiful model. So the noblemantiptoed up to the studio in a high flutter of expec-tation. Imagine his chagrin when Guido called hiscolour-grinder, a great greasy fellow, with a brutallook like the devil, and posed him, seated, lookingup through the skylight. Guido then took a penciland rapidly sketched a beautiful Magdalen in thesame position. Dear Count, he said, gravely,
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Xater Utalian Scbools 87 turning to his visitor, say to your other artiststhat a beautiful idea must be in the imagination,and in that case any model will serve. Guido Renis half-length figure of St. Jeromeis splendid, — much freer than his work generallyis in handling. In the precious cabinet. No. 4, are no lessthan three studies of the head of Christ crownedwith thorns. The best is the smaller oval, of theupturned head only, No. 323. Next in excellenceis No. 329, No. 330 being less satisfactory than theothers. The expression of human suffering domi-nated by uplifting zeal and faith is most beautifullyportrayed in the first of these heads. Less pleasing, but exquisitely modelled, is theLittle Bacchus Drinking, also by Guido, with its* pure, bright, decided manipulation, to which at-tention has been called. In Guidos Apparition ofChrist to His Mother, an angel bears the standardof victory, and Adam and Eve are seen behind theSaviour. Here also is a Magdalen, — one of the many re-p