The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-02-02
The Boston Velasqucz.

The collections in this country OF
pictures by the old masters have not 80
immaculate a reputation that we can
afford to indulge any groundless sus-
picions OF the authenticity of an i'm
portant piece Like the portrait of PHILIP
", recently acquired by the Boston
Museum OF Fine Arts When the pict-
ure was bought, on the advice of Dr.
DENMAN Ross, it was understood that
Madrid was convulsed with laughter
The echo Of this was heard over Europe
with that politely concealed Schdden-
| freude with which its inhabitants have
occasion to console themselves when
! they contemplate the abysmal depth
| Of the American collectors pocket and
I mark for what objects it is displayed.
! Even over hero there were those who,
/ arguing from sad experiences in the
past, showed, though with different
feelings, the anticipation that the "Ve-
lasquez' would turn out to be an old
crust.
But we rejoice to think that perhaps
after all Boston may laugh last and long
tHl, lOl luOSb WHO ulFb IlAlltIAO tA-
amined the picture most critically realize
! first OF all that the question Of modern
/ fake may be ruled out Of court. We
have then picture Of PHILIP ". at
a slightly earlier age than that of any OF
the hitherto recognized portraits; at
such an age, that is, as would place this
picture in the year 1923, the first year of
NELAsQUEz's continuous residence in
Madrid 1t is painted with an almost
fierce determination TO achieve definite
record of the lustreless features OF the
royal patron. The picture is, in fact,
somewhat dull, frigid and dry. IL is the
work Of a sound craftsman, laboring
under uncongenial circumstances, de-
prived Of self-confldence, deserted for
the moment by the inspiration OF his
genius, and thrown back, as it were, on
his last defences, on the inalienable
faculties of hand and eye which his
early training at Seville had supplied.
1t is indeed little to be wondered at that
the modern Spaniards could not see
VELAsQUEz's hand here They know
him only in the full maturity OF his power,
the master of a severe but elegant cere-
monial STYLE moving within the close
limits imposed by the taste of PHILIPS
court with the ease OF an accomplished
grandec They know mis- work above
all by that disinrolturd which was 90
early recognized az the mark OF perfect
breeding. They recognize him by the
brush that barely caresscs the canvas
and delineates with the mere hint OF
an accent rather than by the deliberate
emphasis OF firm stroke OF the other
aspect OF VELAsQUEz-VRLAso the
Sevillian, the friend Of water sellers and
old scullions, the YRLAsQCRz of the wine
shop and the back kitchen-they know
nothing, for the simple reason that all
the pictures OF this period are now in
England.
1t is in these early pieces, bodcgones,
as they arc called, that we recognize the
long, severe training in firmly planned
design, in close and almost literal repre-
sentation, which gave VELAsoUFz the
power later on 20 flourish his brush with
as much certainty as ease. The Boston
portrait is like these early pieces in it's
tight, deliberate modelling, its we'll pom
dered. slow, even handling of the paint,
its careful planning OF light and shade;
but it lacks the fire Of those early pieces,
their warmth and almost passionate
intensity. 1t is, one may frankly ad-
init, inferior to them. But there is
nothing to surprise in this. 1t was a
step back for new leap. The young artist
introduced suddenly into the high, cold
atmosphere OF PHILIPS court, impressed
by the vigor OF its etiquette and the
negative perfection OF its taste-for
PHILIP was a modern dandy, hatinf
display alike Of emotion and finery-
VELAsoUEz, transplanted from the crude,
warm, common life Of the South, could
not but feel that this was no place TO
exercise his peasant style, with its rich |
ohiaroscuro and its moody intensity Of !
effect. He must al once strike out in n
new manner, End something expressive /
Of refinement and mofguo He threw /
over chiaroscuro and found in the mere |
silhouette the basis Of his design. Tho |
local color OF the Kings black cloak |
and the pallor Of his relaxed features /
telling upon fat background Of medium
tone vcrc the elements out Of which he .
could build his design He hit the es-
snptials Of his nov style. bat in this first