Evening star., 1941-03-16

lOuT OllleTS TtChleSS, gay anu dCC
his fellow countryman, Vermeer of
wind into a sunny, sheltered court.
in love with the gentleness of beauty:
than Vermeer, of whose 80 known
works three are now in the Ma
tional Gallery. Two of these are
what might be called portrait
studies-"Girl With Red Hat" and
Smiling Girl"-but the third is
The Lace Maker" a studied and de-
lightful composition. How wonder
full it will be when to these will be
added under one roof the woman
Weighing Gold or Pearls" and other
examples of the work of this master,
which are in the Widener Collection
SO generously promised TO the Ma
tional Gallery.
In keeping with the robustness of
Rembrandt and Halls is that of We
laSquez, the Spanish painter of the
same century who takes his place in
the hierarchy of art by right as well
as acclamation, and from whom
together with his successor, Goya-
our late 18th and Goth century art is
said to derive. It would be interesting
to see side by side Bellini's portrait
of a Condottiere and VelaSquez'S S
study from life Of the head of Pope
Innocent x, made in the interest of
the famous portrait in the Doria
Palace, Rome-they are so much
alike in strength and yet so differ
ent. The Pope may be, as one we'll
known critic has said. "all fire and
force" an overwhelming trium-
phant of technique" and still more
than little terrifying. The Condot-
tiere, on the other hand, is no less
forceful or stern but infinitely more
considered and reserved. Both are
very great portraits.
Velasquez Works.
There are two other works by
Velasquez, Woman Sewing" and
Young Man" both engaging; and
also two by El Greco, one of "St
Martin and the Beggar" Ga larger
version of which is in the Widener
Collection, and "St. Ildefonso," both
of which likewise show the painters
inclination toward distortion for
emphasis-typical examples. The
latter was once owned by Millet and
later by Degas, both leaders in mod
ern times among the painters of
France.
With Goya. we come a step closer
to the present, as his fulI-length of
the "Marquesa de Pontejos" mani
tests. This is an early work and
gayer in mood than many, in color
quite lovely and in technique quite
astonishingly modern. This was the
painting which Mr.. Mellon is said
to have purchased in Madrid by
1ong-distance telephone. Who would
not if he could? Perhaps, however,
the Goya which, to many minds, is
most characteristic is that which
portrays Sonora Sabasa Garcia
a typical young Spanish woman with
luminous dark eyes and grave mien,
painted with both emotion and
evident fidelity.
The French art of the 18th century
seems long cry from that of those
earlier centuries in Italy and the
Netherlands reviewed, but it is found
no less sincere or true. BY no means
widely divided, in fact. are seen to be
the works of Vermeer and Chardin,
despite intervening years. Both were
in love with beauty. had a sense of
fellowship with all mankind, painted
much in the same key and with
grave simplicity as we'll as great skill.
The Frenchman, Chardin, is repre-
sented in the collection assembled
by Mr.. Mellon by versions of his
well-known House of Cards" and
THE Young Governess," both very
fine.
Exceptional Significance.
Mention should be made of an
other French artist here represented
by work of exceptional significance
-Lancret, who is at his best in La
Camargo,' picture of garden fete
which features in the foreground
the famous dancer daintily gowned,
graceful, fascinating. BY the time
this work was produced madonnas
and saints had been replaced in art
by those less serious, the mirror
being upheld to life, which then was
Fastening toward dark destiny. But
even so, how in these French paint