The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1881-07-11
The Bowdoin Drawings.
The Art Collection Of Bowdoin College
The Old Masters in nForce-Illustrations
of the French, Italian and English
Schools-A Fortunate Purchase.

SoA@SSSiOl
The Old Masters in nForce-Illustrations
Of the French, Italian and English
| Schools-A Fortunate Purchase.
| 1t bas been longtime complaint that the
British public, even of the very intelligent
class, were SO little acquainted with the art
treasures of the British Museum. Notable
works are there of which multitudes are utter.
ly ignorant, if the averment of a famous art
critic of England may be accepted. This gem
eral criticism on the practical ignorance Of
many who converse volubly on painting and
sculpture may be made specific by applying it
to minor instances of this obliviousness to the
presence of choice productions of the pencil,
brush and chisel. The inner history of any
American collection will illustrate the point.
The multitude pass by on the other side.
Among the art possessions of Bowdoin Col
lege, which are neither unimportant nor few
in number, is to be counted a collection of
drawings given by James Bowdoin, the patron
of the college, who purchased them in Europe
during his residence there in the early part of
this century. This rich bestowal has been
ceeded chiefly from lack of funds necessary to
placing it in more favorable position. Even
now the college, which is poor in funds for
such purposes, and for others as WE'LL be it
said, waits for the operation of him who will
send his check, say for two hundred dollars,
and enable tho authorities to display these
drawings in proper cases. They now lie in a
drawer, wrapped up in unartistic brown paper,
and their depressed condition should awaken
the sympathy of art-lovers. These drawings
were secured at most auspicious moment,
when pictures and like works were in the mar
ket to an astonishing degree.
Those familiar with such matters are aware
that England profted largely by the French
Revolution in the way of securing rich addi-
tions to her collections. Churches and palaces
and private dwellings gave up their treasures
Rome, Florence, Naples, and other centres
made these forced contributions to English
galleries. From the time of the acquisition of
the gallery of the Duke of Orleans, in 1892, to
1907, when Spain was found willing to surren-
der splendid specimens Of mastery work, the
countries capable of supplying the demand
found eager purchasers in England. Holland
was called hunting ground for picture deal
ers. The public crier would summon the peo-
pie to bring out their old pictures for sale.
But not England alone was enriched by this
upheaval on the continent. which caused the
sacrifice OF art wealth to be daily occurrence.
1t was then that our countryman, Mr.. Bow
doin, collected the paintings and drawings
that render BOwdoin College comparatively
opulent in works which ara even now not fully
appreciated by the generality of visitors. 1t
was fortunate incident OF that period of
seeking, buying and selling, that England for
once could not lay hands on all available ma
terial.
We have at present to do with the drawings
only. The high names to which many of them
are attributed at once commend the collection
to consideration. 1t is not an exaggeration to
say, as some one has remarked, that by draw
1Dgs more than by works OF any other kind, we
are introduced into the very laboratory of art,
thus following painting from its germ to its
completion. When the suitable provision for
exhibiting the Bowdoin drawings has been
made, there is little question of the eager at
tention which these valuable works will at
tract, and the visitor least familiar with art
will be able to enjoy his study of them all the
more if he will remember the saying of East
lake, that attention and common sagacity will
do much to render the ordinary observer quali-
fed to pass creditable judgment both on the
subject and on its treatment. A catalogue of
the drawings has been completed the past year
by Mr.. f. W. Hall of 80, assisted by Mr.. Bur-
ton of '7S. This will be found of great assis-
tance in examining the list, and these gentle
men are entitled to the thanks of those inter-
ested alike in art and in the college.
No more will be attempted than to give a
very brief description of the drawings, which
number over $50. OF these slxty-nine are
plainly marked with the artists name, and
are referred as follows: Forty-six to the
italian school, fifteen to the Flemish, four to
the French, and four to the English, while
the remainder are under the general CLASH
fication of unknown. Tho desired indica-
tions of authenticity and value, the mount
ing for example. and kindred marks, are clear
ly observable, and the preservation of the pic
lures, despite their rather inhospitabe treat
ment in earlier years, has been gratifying, SO
that the artistic eye finds much to refresh it,
while even casual inspection is rewarded. 1t
should be said that number OF these, not as
signed to any school, bear marks which may
aid in determining their relations. In the
preparation of the official catalogue Mr.. Hall
suggests the need of one qualified for the deli
cate work OF perfecting what ne has so well
begun. Acquaintance with an artists man
ner from the first is needed characteristic in
one who would pass judgment on what pur-
ports to be the productions of the workman in
question. Mr.. johnson, instructor in modern
languages, has been of great service in the care
and classification of the drawings, work
which his residence abroad enables him to do
with excellent taste and skill. Estimates as
| high as $4,000 have been made in valueing
| the collection, though this is an opinion which
| is scarcely determinative since many other
things come always in to affect the price, and
| even larger sum may be nearer the proper
estimate.
A sketch in red chalk by Titan Q3.5x11)
| the Virgin and Child, may be properly men,
toned first of all. The least educated eye dis
Germs power and beauty in the lines, not many
| but strong and notable, which the master drew.
Titian's rival as he is often called, Pordenone,
| is represented by drawing QSx23) containing
| several figures, wherein may be seen some OF
the characteristics of his well-defned style
| which will be remembered by those familiar
with mis- works. A somewhat larger sketch OF
| Andrea del Sarto, the figure of a woman, the
drapery full and graceful attracts immediate
| notice, for the outward and visible sign of ge-
| MUS is recognized speedily. Two sketches of
the Virgin by Correggio, rank among the en-
| inent attractions of the collection. They are
pen drawings, shaded with his delicate skill,
! and the subject, always q moving theme, as
| sumes fresh tenderness as one looks upon
| the lines drawn long ago.
| Polidoro da Caravaggio is represented like
| wise by two specimens OF his work, one OF
them being a copy of RaphaePs cartoon, An
| anias Struck Dead. This drawing is %. 5x39.5.
| Tintoretto may be studied through
| sketch of woman and child. One of the
| two drawings by Salvador Rosa to be seen in
| the collection (21x30), contains ten principal
| figures. Those who delight in the magic OF
| light and shade wrought by artist hands will
be charmed with this disqualification. of that
| painters genius. The subject was to him q
| congenial one, Robbers Dividing Spoils.
The Fates, and drawing for young mans
statue, comprise the representation of Carlo
| Marrattis handiwork Anything proceeding
from the man whose Madonnas brought to him
the title, given by Salvador Roso, of Carlo
delle Madonne, and who was entrusted with
| the grave responsibility of restoring Raphael's
frescos, must needs be viewed with special
interest. A Virgin aud Child by Tommaso
Redi is a drawing of exceeding impressive
ness. Three drawings are Giro FERRIS, and
| nine illustrate the method of Pietro de Petri.
The figure of a man by Domenichino has been
| characterized as the most perfect sketch in the
collection. The college is to be felicitated on
possessing so striking an example of this mas.
ter's style.
The remaining drawings of the italian school
are deserving of close inspection, but in this
short summary will have no more specific
mention. They are dismissed thus abruptly
not because of lack of merit, but for the reason
indicated. Rembrandt has three drawings
| among fifteen Flemish sketches, two of them
being canal scenes, each 20x305. Tho low
L.