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Title: A Text-Book of the History of Painting Author: John C. Van Dyke Release Date: July 23, 2006 [EBook #18900] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF PAINTING ***
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
Velasquez. Head of Æsop, Madrid. Please click here for a modern color image Transcriber’s Note. The images in this e book of the paintings are from the original book. However many of the paintings have undergone extensive restoration. Some of the restored paintings are presented as modern color images with links.
A TEXT-BOOK
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
OF THE
HISTORY OF PAINTING
BY
JOHN C. VAN DYKE, L.H.D.
PROFESSOR OF THE HISTORY OF ART IN RUTGERS COLLEGE AND AUTHOR OF "ART FOR ART’S SAKE," "THE MEANING OF PICTURES," ETC.
LONGMANS, GREEN, AND CO. 91 and 93 FIFTH AVENUE, NEW YORK LONDON, BOMBAY, AND CALCUTTA 1909
Copyright, 1894, by LONGMANS, GREEN, AND CO. [vii]
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
PREFACE.
The object of this series of text-books is to provide concise teachable histories of art for class-room use in schools and colleges. The limited time given to the study of art in the average educational institution has not only dictated the condensed style of the volumes, but has limited their scope of matter to the general features of art history. Archæological discussions on special subjects and æsthetic theories have been avoided. The main facts of history as settled by the best authorities are given. If the reader choose to enter into particulars the bibliography cited at the head of each chapter will be found helpful. Illustrations have been introduced as sight-help to the text, and, to avoid repetition, abbreviations have been used wherever practicable. The enumeration of the principal extant works of an artist, school, or period, and where they may be found, which follows each chapter, may be serviceable not only as a summary of individual or school achievement, but for reference by travelling students in Europe. This volume on painting, the first of the series, omits mention of such work in Arabic, Indian, Chinese, and Persian art as may come properly under the head of Ornament—a[viii] subject proposed for separate treatment hereafter. In treating of individual painters it has been thought best to give a short critical estimate of the man and his rank among the painters of his time rather than the detailed facts of his life. Students who wish accounts of the lives of the painters should use Vasari, Larousse, and the Encyclopædia Britannica in connection with this text-book. Acknowledgments are made to the respective publishers of Woltmann and Woermann’s History of Painting, and the fine series of art histories by Perrot and Chipiez, for permission to reproduce some few illustrations from these publications. John C. Van Dyke. [ix]
TABLE OF CONTENTS.
PAGE
List of Illustrations
xi
General Bibliography
xv
Introduction CHAPTER I. Egyptian Painting
xvii
1
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CHAPTER II. Chaldæo-Assyrian, Persian, Phœnician, Cypriote, and Asia Minor Painting 10
CHAPTER III. Greek, Etruscan, and Roman Painting 21
CHAPTER IV. Italian Painting—Early Christian and Mediæval Period, 200-1250 36
CHAPTER V. Italian Painting—Gothic Period, 1250-1400 47
CHAPTER VI. Italian Painting—Early Renaissance, 1400-1500 57
CHAPTER VII. Italian Painting—Early Renaissance, 1400-1500, Continued 73
CHAPTER VIII. Italian Painting—High Renaissance, 1500-1600 86
CHAPTER IX. Italian Painting—High Renaissance, 1500-1600, Continued 99
CHAPTER X. Italian Painting—High Renaissance, 1500-1600, Continued 110
CHAPTER XI. Italian Painting—The Decadence and Modern Work, 1600-1894 122
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CHAPTER XII. French Painting—Sixteenth, Seventeenth, and Eighteenth Centuries 132
CHAPTER XIII. French Painting—Nineteenth Century 143
CHAPTER XIV. French Painting—Nineteenth Century, Continued 156
CHAPTER XV. Spanish Painting 172
CHAPTER XVI. Flemish Painting 186
CHAPTER XVII. Dutch Painting 203
CHAPTER XVIII. German Painting 223
CHAPTER XIX. British Painting 241
CHAPTER XX.
American Painting
260
Postscript
276
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Index [xi]
279
LIST OF ILLUSTRATIONS.
[xii] Velasquez, Head of Æsop, Madrid Frontispiece PAGE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Hunting in the Marshes, Tomb of Ti, Saccarah Portrait of Queen Taia Offerings to the Dead. Wall painting Vignette on Papyrus Enamelled Brick, Nimroud " " Khorsabad 2 4 6 8 11 12 14 16 18 19 23 26 29 31 33 35 37 39 41 43 45 49
Wild Ass. Bas-relief Lions Frieze, Susa Painted Head from Edessa Cypriote Vase Decoration Attic Grave Painting Muse of Cortona Odyssey Landscape Amphore, Lower Italy Ritual Scene, Palatine Wall painting Portrait, Fayoum, Graf Collection Chamber in Catacombs, with wall decorations Catacomb Fresco, S. Cecilia Christ as Good Shepherd, Ravenna mosaic Christ and Saints, fresco, S. Generosa Ezekiel before the Lord. MS. illumination Giotto, Flight into Egypt, Arena Chap.
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23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52
Orcagna, Paradise (detail), S. M. Novella Lorenzetti, Peace (detail), Sienna Fra Angelico, Angel, Uffizi Fra Filippo, Madonna, Uffizi Botticelli, Coronation of Madonna, Uffizi Ghirlandajo, Visitation, Louvre Francesca, Duke of Urbino, Uffizi Signorelli, The Curse (detail), Orvieto Perugino, Madonna, Saints, and Angels, Louvre School of Francia, Madonna, Louvre Mantegna, Gonzaga Family Group, Mantua B. Vivarini, Madonna and Child, Turin Giovanni Bellini, Madonna, Venice Acad. Carpaccio, Presentation (detail), Venice Acad. Antonello da Messina, Unknown Man, Louvre Fra Bartolommeo, Descent from Cross, Pitti Andrea del Sarto, Madonna of St. Francis, Uffizi Michael Angelo, Athlete, Sistine Chap., Rome Raphael, La Belle Jardinière, Louvre Giulio Romano, Apollo and Muses, Pitti Leonardo da Vinci, Mona Lisa, Louvre Luini, Daughter of Herodias, Uffizi Sodoma, Ecstasy of St. Catherine, Sienna Correggio, Marriage of St. Catherine, Louvre Giorgione, Ordeal of Moses, Uffizi Titian, Venus Equipping Cupid, Borghese, Rome Tintoretto, Mercury and Graces, Ducal Pal., Venice Veronese, Venice Enthroned, Ducal Pal., Venice Lotto, Three Ages, Pitti Bronzino, Christ in Limbo, Uffizi
51 53 55 58 60 62 64 66 68 70 74 76 78 80 83 87 89 91 93 96 100 102 104 106 111 113 115 117 119 123
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53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82
Baroccio, Annunciation Annibale Caracci, Entombment of Christ, Louvre Caravaggio, The Card Players, Dresden Poussin, Et in Arcadia Ego, Louvre Claude Lorrain, Flight into Egypt, Dresden Watteau, Gilles, Louvre Boucher, Pastoral, Louvre David, The Sabines, Louvre Ingres, Œdipus and Sphinx, Louvre Delacroix, Massacre of Scio, Louvre Gérôme, Pollice Verso Corot, Landscape Rousseau, Charcoal Burner’s Hut, Fuller Collection Millet, The Gleaners, Louvre Cabanel, Phædra Meissonier, Napoleon in 1814 Sanchez-Coello, Daughter of Philip II., Madrid Murillo, St. Anthony of Padua, Dresden Ribera, St. Agnes, Dresden Fortuny, Spanish Marriage Madrazo, Unmasked Van Eycks, St. Bavon Altar-piece, Berlin Memling (?), St. Lawrence, Nat. Gal., Lon. Massys, Head of Virgin, Antwerp Rubens, Portrait of Young Woman Van Dyck, Portrait of Cornelius van der Geest Teniers the Younger, Prodigal Son, Louvre Alfred Stevens, On the Beach Hals, Portrait of a Lady Rembrandt, Head of a Woman, Nat. Gal., Lon.
125 127 129 133 135 137 139 144 146 148 151 157 160 163 166 169 173 175 178 181 184 187 189 191 193 195 197 200 205 208
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83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110
Ruisdael, Landscape Hobbema, The Water Wheel, Amsterdam Mus. Israels, Alone in the World Mauve, Sheep Lochner, Sts. John, Catharine, Matthew, London Wolgemut, Crucifixion, Munich Dürer, Praying Virgin, Augsburg Holbein, Portrait, Hague Mus. Piloty, Wise and Foolish Virgins Leibl, In Church Menzel, A Reader Hogarth, Shortly after Marriage, Nat. Gal., Lon. Reynolds, Countess Spencer and Lord Althorp Gainsborough, Blue Boy Constable, Corn Field, Nat. Gal., Lon. Turner, Fighting Téméraire, Nat. Gal., Lon. Burne-Jones, Flamma Vestalis Leighton, Helen of Troy Watts, Love and Death West, Peter Denying Christ, Hampton Court Gilbert Stuart, Washington, Boston Mus. Hunt, Lute Player Eastman Johnson, Churning Inness, Landscape Winslow Homer, Undertow Whistler, The White Girl Sargent, "Carnation Lily, Lily Rose" Chase, Alice, Art Institute, Chicago
211 214 217 220 224 226 228 230 232 235 238 242 244 246 248 250 252 255 258 261 262 263 265 267 269 270 273 274
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
[xv]
GENERAL BIBLIOGRAPHY.
(This includes the leading accessible works that treat of painting in general. For works on special periods or schools, see the bibliographical references at the head of each chapter. For bibliography of individual painters consult, under proper names, Champlin and Perkins’s Cyclopedia, as given below.) Champlin and Perkins, Cyclopedia of Painters and Paintings, New York. Adeline, Lexique des Termes d’Art. Gazette des Beaux Arts, Paris. Larousse, Grand Dictionnaire Universel, Paris. L’Art, Revue hebdomadaire illustrée, Paris. Bryan, Dictionary of Painters. New edition. Brockhaus, Conversations-Lexikon. Meyer, Allgemeines Künstler-Lexikon, Berlin. Muther, History of Modern Painting. Agincourt, History of Art by its Monuments. Bayet, Précis d’Histoire de l’Art. Blanc, Histoire des Peintres de toutes les Écoles. Eastlake, Materials for a History of Oil Painting. Lübke, History of Art, trans. by Clarence Cook. Reber, History of Ancient Art. Reber, History of Mediæval Art. Schnasse, Geschichte der Bildenden Künste. Girard, La Peinture Antique. Viardot, History of the Painters of all Schools. Williamson (Ed.), Handbooks of Great Masters. Woltmann and Woermann, History of Painting. [xvii]
HISTORY OF PAINTING. INTRODUCTION.
The origin of painting is unknown. The first important records of this art are met with in Egypt; but before the Egyptian civilization the men of the early ages probably used color in ornamentation and decoration, and they certainly scratched the outlines of men and animals upon bone and slate. Traces of this rude primitive work still remain to us on the pottery, weapons, and stone implements of the cave-dwellers. But while indicating the awakening of intelligence in early man, they can be reckoned with as art only in a slight archæological way. They show inclination rather
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
than accomplishment—a wish to ornament or to represent, with only a crude knowledge of how to go about it. The first aim of this primitive painting was undoubtedly decoration—the using of colored forms for color and form only, as shown in the pottery designs or cross-hatchings on stone knives or spear-heads. The second, and perhaps later aim, was by imitating the shapes and colors of men, animals, and the like, to convey an idea of the proportions and characters of such things. An outline of a cave-bear or a mammoth was perhaps the cave-dweller’s way of telling his fellows what monsters he had slain. We may assume that it was pictorial record, primitive picture-written history. This early method of conveying an idea is, in intent,[xviii] substantially the same as the later hieroglyphic writing and historical painting of the Egyptians. The difference between them is merely one of development. Thus there is an indication in the art of Primitive Man of the two great departments of painting existent to-day. 1. Decorative Painting. 2. Expressive Painting. Pure Decorative Painting is not usually expressive of ideas other than those of rhythmical line and harmonious color. It is not our subject. This volume treats of Expressive Painting; but in dealing with that it should be borne in mind that Expressive Painting has always a more or less decorative effect accompanying it, and that must be spoken of incidentally. We shall presently see the intermingling of both kinds of painting in the art of ancient Egypt—our first inquiry. [1]
CHAPTER I.
EGYPTIAN PAINTING.
Books Recommended: Brugsch, History of Egypt under the Pharaohs; Budge, Dwellers on the Nile; Duncker, History of Antiquity; Egypt Exploration Fund Memoirs; Ely, Manual of Archæology; Lepsius, Denkmaler aus Aegypten und Aethiopen; Maspero, Life in Ancient Egypt and Assyria; Maspero, Guide du Visiteur au Musée de Boulaq; Maspero, Egyptian Archæology; Perrot and Chipiez, History of Art in Ancient Egypt; Wilkinson, Manners and Customs of the Ancient Egyptians. LAND AND PEOPLE: Egypt, as Herodotus has said, is "the gift of the Nile," one of the latest of the earth’s geological formations, and yet one of the earliest countries to be settled and dominated by man. It consists now, as in the ancient days, of the valley of the Nile, bounded on the east by the Arabian mountains and on the west by the Libyan desert. Well-watered and fertile, it was doubtless at first a pastoral and agricultural country; then, by its riverine traffic, a commercial country, and finally, by conquest, a land enriched with the spoils of warfare. Its earliest records show a strongly established monarchy. Dynasties of kings called Pharaohs succeeded one another by birth or conquest. The king made the laws, judged the people, declared war, and was monarch supreme. Next to him in rank came the priests, who were not only in the service of religion but in that of the state, as counsellors, secretaries, and the like. The
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
common people, with true[2] Oriental lack of individuality, depending blindly on leaders, were little more than the servants of the upper classes.
FIG. 1.—HUNTING IN THE MARSHES. TOMB OF TI, SACCARAH. (FROM PERROT AND CHIPIEZ.) Please click here for a modern color image The Egyptian religion existing in the earliest days was a worship of the personified elements of nature. Each element had its particular controlling god, worshipped as such. Later on in Egyptian history the number of gods was increased, and each city had its trinity of godlike protectors symbolized by the propylæa of the temples. Future life was a certainty, provided that the Ka, or spirit, did not fall a prey to Typhon, the God of Evil, during the long wait[3] in the tomb for the judgment-day. The belief that the spirit rested in the body until finally transported to the aaln fields (the Islands of the Blest, afterward adopted by the Greeks) was one reason for the careful preservation of the body by mummifying processes. Life itself was not more important than death. Hence the imposing ceremonies of the funeral and burial, the elaborate richness of the tomb and its wall paintings. Perhaps the first Egyptian art arose through religious observance, and certainly the first known to us was sepulchral.
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
ART MOTIVES: The centre of the Egyptian system was the monarch and his supposed relatives, the gods. They arrogated to themselves the chief thought of life, and the aim of the great bulk of the art was to glorify monarchy or deity. The massive buildings, still standing to-day in ruins, were built as the dwelling-places of kings or the sanctuaries of gods. The towers symbolized deity, the sculptures and paintings recited the functional duties of presiding spirits, or the Pharaoh’s looks and acts. Almost everything about the public buildings in painting and sculpture was symbolic illustration, picture-written history—written with a chisel and brush, written large that all might read. There was no other safe way of preserving record. There were no books; the papyrus sheet, used extensively, was frail, and the Egyptians evidently wished their buildings, carvings, and paintings to last into eternity. So they wrought in and upon stone. The same hieroglyphic character of their papyrus writings appeared cut and colored on the palace walls, and above them and beside them the pictures ran as vignettes explanatory of the text. In a less ostentatious way the tombs perpetuated history in a similar manner, reciting the domestic scenes from the life of the individual, as the temples and palaces the religious and monarchical scenes. In one form or another it was all record of Egyptian life, but this was not the only motive of their painting. The[4] temples and palaces, designed to shut out light and heat, were long squares of heavy stone, gloomy as the cave from which their plan may have originated. Carving and color were used to brighten and enliven the interior. The battles, the judgment scenes, the Pharaoh playing at draughts with his wives, the religious rites and ceremonies, were all given with brilliant arbitrary color, surrounded oftentimes by bordering bands of green, yellow, and blue. Color showed everywhere from floor to ceiling. Even the explanatory hieroglyphic texts ran in colors, lining the walls and winding around the cylinders of stone. The lotus capitals, the frieze and architrave, all glowed with bright hues, and often the roof ceiling was painted in blue and studded with golden stars.
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Van Dyke
FIG. 2.—PORTRAIT OF QUEEN TAIA. (FROM PERROT AND CHIPIEZ.) All this shows a decorative motive in Egyptian painting, and how constantly this was kept in view may be seen at times in the arrangement of the different scenes, the large ones being placed in the middle of the wall and the smaller ones going at the top and bottom, to act as a frieze and dado. There were, then, two leading motives for Egyptian painting; (1) History, monarchical, religious, or domestic; and (2) Decoration. TECHNICAL METHODS: Man in the early stages of civilization comprehends objects more by line than by color[5] or light. The figure is not studied in itself, but in its sun-shadow or silhouette. The Egyptian hieroglyph represented objects by outlines or arbitrary marks and conveyed a simple meaning without circumlocution. The Egyptian painting was substantially an enlargement of the hieroglyph. There was no attempt to place objects in the setting which they hold in nature. Perspective and light-and-shade were disregarded. Objects, of whatever nature, were shown in
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The Project Gutenberg eBook of A Text-book of the History of Painting, by John C. Va..."
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