Evening star., 1940-08-11

Canaletto, Bellotto and Pannini. The
loveliest of these in the New York
exhibition is Guards Bridge With
Three Arches" a vision Of Venice in
soft rose and blue.
The effect OF Italy on French
artists of the 18th century is evident
in the first gallery devoted to their
work, including classic Landscapes by
Claude Lorrain and six landscapes
with figures by Poussin, who also
spent much of his life in Italy, in
spired by classic mythology. The
serenity of ancient Rome infuses
even his Holy Family" in this
group. Matthew LIE Mains Travellers
at an Inn" introduces northern
realism into this 18th century
French gallery. Largilliere, Rigaud,
Mignard and Philippe de Cham
paigne also are characteristically
represented, the first by self
portrait with his family. His life is
as great success story as the lives
Of Titan and Rubens.
Rubens dominates the Flemish
Gallery with nine paintings: Por-
traits and studies for allegorical and
religious compositions. Van Dyck
Is represented with five works, in
cluding several Of his elegant
portraits. Jordaens and Teniers the
Younger, with one painting each,
seem overshadowed.
Vermeer is Missed.
The Dutch school reached Its peak
in the 18th century in its glorifica-
ton Of its prosperous burghers, their
appearance and their home life.
Nineteen Dutch masters are repre-
sented in the exhibition, but Halls
and Rembrandt, with five portraits
each Rembrandt also has "Pieta"
in the show, easily dominate the
display. Nevertheless, there are
excellent paintings by the others.
Barent Fabritius' eli and Samuel"
is superb. There are several lovely
landscapes and marines by Ruisdael,
Hobbema, Van Goyen. Aelbert Cuyp
and Van de Velde the Younger.
Characteristic groups and portraits
by Steen, Terborch, Bol De Hooch
and Macs afford us glimpses of the
Dutch and their social activities.
However, one sorely misses Vermeer.
who is not included in this years
exhibition.
The Spanish galleries remain in
ones memory as unusually good.
Spain's painting seems less school
than a trio of great masters: Ell
Greco. Velasquez and Goya. The
religious fervor of Spain Is epito-
mized in Ell Greco's saints. In the
present exhibition, small painting
Of st. John the Baptist is particu-
larly appealing. This, one of st.
Francis and the impressive An
nunciation" remind one again of
Powys' comment on the God -intox-
icated faces" of Ell Greco's saints and
angels. OF Velasquez's four paint
ings, the portrait of Anna Maria,
Queen of Spain, embodies the mag
nificence Of her country in the 18th
century.
The versatile genius of Goya is
seen in II canvases, the majority
searching portraits of men, women
and children. A little auburn haired
boy, Don Luis Maria de Cistue,
"aged years and months" as his
portrait proclaims, is perhaps the
most enchanting capture of a child
in the entire exhibition (although
popular votes to the end Of July
favored portrait of an English lad,
Master Simpson, painted by Arthur
Davis.
British Works Please.
Despite the emphasis on Goya,
one does not overlook excellent
work by Zurbaran, Ribera and Mu-
rillo (who, of all Spanish masters,
Is still doubtless the most generally
lovedD.
Great Britain in the 18th century
was prosperous and populated with
a strikingly handsome race. One
expects any gallery OF British mas
ters to be filled with competently
executed portraits of lovely women,
distinguished men and beautiful
children. Such Is the case in the
present instance; appealing por-
traits by Hogarth, Reynolds, Hopp-
ner, Raeburn (four works, including
one remarkable triple portrait) !.
Romney, Lawrence (by whom there
is an appealing portrait Of little
Charles Francis Annesley holding q
rabbit and Gainsborough. In addi-
ton to portraits by Gainsborougt,
there are three landscapes; despite
his success as portrait painter, he
preferred landscape. The great
English contribution to the develop
ment of landscape painting is fur
ther exemplified in works by Wilson,
Turner, Constable and Bennington.
These great British masters of the