File:A history of painting... - with a preface by Frank Brangwyn (1911) (14758114236).jpg

Identifier: historyofpainti03macf (find matches)
Title: A history of painting... / with a preface by Frank Brangwyn
Year: 1911 (1910s)
Authors: Macfall, Haldane, 1860-1928
Subjects: Painting Painters
Publisher: Boston : Dana Estes and Co.
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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have painted it, under theglamour of his great masters art, were the more likely ;yet, had Mazo painted it, he was greater than the worldacclaims him, greater than any work of his that my eyeshave dwelt upon. Whether by Velazquez or Mazo, it is afine work of art, and worthy of good place. If to suchas feel with me, the Admiral and the Venus lack somethingof the utterance of Velazquez, at least they hold highqualities that stand in close rivalry with those of Velazquez,so it matters little whose name shall be written upon them.On the other hand, men take line and plummet and measureby fantastic laws of science—to which the art of Velazquez,more than that of all other men, is wholly baffling. At thesame time it is but fair to say that Palomino gives mostelaborate details of the painting of the Admiral with very192 XIX VELAZQUEZ 1599 - 1660 REALIST SCHOOL OF SEVILLE OR ANDALUSIA VENUS AND CUPID (National Gallkry)Painted in oil on canvas. 4 ft. % in. h. x 5 ft. 9 in. w. (1*231 x 1753).
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OF PAINTING long brushes —though the long brushes are not wholly con- WHEREINvincing, nor the word of Palomino. The great portrait of SPAINthe truculent Del Borro at Berlin is given by the experts BURSTSto some Italian—no Italian could once in his life have ^NTOpainted this, one of the master portraits of all time, and DULLESTstepped into oblivion. I have not seen the original, itscolour is unknown to me; but had the creator of it paintedit in black and white alone, then there has lived, unknownto fame, one who is the peer of Velazquez. The greatsketch of The Betrothal at the National Gallery has beenchallenged as being by an Italian. If so, again, it is by amaster worthy to stand beside Velazquez. There is something strange in the fact that in two ofhis last paintings, the Coronation of the Virgin and the quaintSt. Anthony visiting St. Paul, both at the Prado, Velazquezshould in the altar-piece have fallen to Italianism, and inthe other have painted the landscape and the two sain

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