The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-02-11
Art Aids for
Busy People
BY MARTHA c. WELLS,
Chairman Of the Art Committee OF
.s the State Federation. @1@ .=
r amous Paintings - Thei1
Artists and Location - Study 0!
Murillo. "-1

. MuT1l1O. o.. 49, '-- !'-r'
n ROUND the walls of the Ma
"a tional gallery In london are
4 y these words by Sir Joshua
Reynolds: "The works Of those who
have stood the test for ages have a
claim to that respect and veneration to
which no modern can pretend. :" H. j.
Travellers abroad invariably visit the
great cathedrals aud galleries which
have from early centuries been the de-
positories Of art and will enumerate the
many churches and f'm1les OF canvas
which they have seen. But If asked
whether they saw the famous "world
paintings" by the old masters, they
answer in the negative, or" only a
few By having a list, in convenient
form, Of the paintings, the artists and
their location, it is very possible, by
little perseverance, to see them all
during continental tour.
Long ago, by consensus Of opinion,
art critics settled upon twelve famous
masterpieces, which are called the
s'world pictures. - None Of these are
later than the renaissance period, ten
are by italian artists, one Spanish, one
Flemish. OF the eight which are now
in Italy, six are in Rome, one in Milan,
one in Venice, and Of the remaining
four one Is in Antwerp, one in Paris
and two In Dresden. Since the work
Of no artist is represented later than
two or three hundred years ago, the
question has arisen, ''Shall there be a
new decision for masterpiecesq' This
was actively discussed but few years
ago in the Royal Academy, London, and
it would certainly seem fair that the
development Of later art should have q
recognized place, and Germany, France
and England a representation among
Europe's famous artists.
A study Of these famous pictures,
with their artists, would form a desir-
able study plan, for paintings are like
books-to be thoroly enjoyed the man
back Of the work must be understood.
Most Of the paintings are fairly famil:
lar by engravings or other reproduc.
tions, and the pleasure Of seeing the
originals Is greatly enhanced by knowl.
edge Of the subject, the conditions un.
der which they were painted, how they
came to their present location-fo1
many have passed thru strange vicissi
ltudes-or for what they were originally
designed.
Twelve World Paintings.
The twelve world paintings, the art
lists and their location are as follows:
Immaculate Conception, = by Muril
| 10, in the Louvre, Paris; Descent from
the Cross, Rubens, cathedral, Ant.
werp; g Nativity" or Holy Night
Correggio, gallery, Dresden; !" sistine
Madonna, - Raphael, gallery, Dresden;
Last Supper, Leonardo de Vinci
convent, Milan; Assumption Of the
1 Virgin, = Titan, Academy of Fine Arts
Venice; TRANSPORTATION, = Raphael
st. Peters, Rome; Last Judgment,
/ Michael Angelo, Vatican, Rome; 9 Com
munion Of st. Jerome, eDomenichino
Vatican, Rome; Descent from tht
| Cross, = Volterra, Church Of San Trim
tita, Rome; Aurora, = Guido REM
Rospiglioso palace, Rome; Beatrice
}Cenci,'' Guido REM, Barbarini palace
i Rome. ss i.sSs .s5. ri NJ
A brief consideration Of these pic
lures and Of their artists will follow il
several succeeding papers.
ts The Immaculate Conception, b,
Murillo, came into possession Of tn,
/ French government in 1852, and being
i placed in the famous Salon Care, O
j square room Of the Louvre in Paris
remained among the very select pic
4 lures there until the new arrangement
of the Louvre was completed in 1908
1t now occupies location in the Ion,
Lcorridor leading towards the Ruben
room, opposite the opening Of one 8
i the large rooms Of late French artists
Many think it is more favorably place,
4 than before. Two other pictures o