An Appreciation

After far too long delay, the fine arts have finally es-
tablished themselves in American higher education. No
longer is there a widespread disposition to regard them as
decorative appendages to the curriculum. They have moved
towards their rightful place in our colleges, where they il-
luminate and integrate history, literature, religion, and other
major fields of study. Courses in the history and appre-
ciation of art prepare students for a life of intelligent en-
joyment and understanding of the best that man himself
has expressed; on the other hand, courses in creative art,
even when they fail to produce genius, fire many minds and
hands with magnificent desperation or reasonably successful
self-expression. The student who has worked even badly at
sculpture, drawing, or painting, and perhaps only for his
own amazement, will better understand forever afterwards
the great masters' superb acceptance and conquest of diffi-
culty. And this is no small thing.

[2]

We are coming also to a clearer notion of how art is re-
lated to society as a whole — to the humane deliverance of
men from the ugly and the commonplace. We know, as
Goethe pointed out long ago, the paradox of art: that it
offers the surest way of escaping from life and the surest
way of uniting with life. If it is the passion of the aesthete,
it is the passion also of those who care deeply for the wel-
fare of mankind and for the richest realization of our whole
human situation.

The College of Wooster is very grateful to the Metropoli-
tan Museum of Art for the current loan exhibition. These
paintings, which illustrate not merely various periods and
areas of artistic expression but also the various problems
and aspirations of the artist, have caught the imagination
of many visitors. Once again we are indebted to Professor
Theodore Brenson, through whose informed care the exhi-
bition was obtained and set forth. To him and to Miss Sybil
Gould, of the department of Art, I express the thanks of
the College.

In our post-war world many values are already suspect.
But man will hardly let die the things that eternally do him
honor. We look forward here on the Hill to a new develop-
ment of work in the fine arts that will be worthy of any
truly liberal education.

HOWARD LOWRY
President of the College

[3]

CHARDIN

SUPPLIES FOR LUNCH

### JEAN-BAPTISTE SIMEON CHARDIN. *French School.*

Chardin was born near the Rue de Seine, Paris, in 1699. He spent most of his life in this neighborhood and died there in 1779.

**SUPPLIES FOR LUNCH.** Oil on canvas, 26⅛ x 22⅞ inches.

COLL.: Jacques Doucet, Paris.

LIT.: Bryson Burroughs, Three Still Life Paintings, in M. M. A. Bulletin, Vol. VII, Dec. 1912, p. 229; Sale, Jacques Doucet, Paris, Georges Petit, June 6, 1912, no. 140.

### JEAN-BAPTISTE CAMILLE COROT. *French School.*

Camille Corot was born in 1796 in Rue du Bac, Paris, and died there in 1875 in the Faubourg Poissonnière. After having studied first in Paris he went to Italy where he simplified his technique. Fond of travel, he visited all parts of France, and many other European countries.

**WHEELWRIGHT'S YARD ON THE BANK OF THE SEINE.**

Oil on canvas, 18¼ x 21⅞ inches.

SIGNED: Corot.

COLL.: Charles Lecesne.

LIT.: M. M. A. Bulletin, Vol. XVI, p. 122; Robaut, L'Oeuvre de Corot ... Vol. III, No. 1460.

[4]

PUVIS DE CHAVANNES

SLEEP

### PIERRE PUVIS DE CHAVANNES. *French School.*

Puvis de Chavannes was born in Paris in 1824 and died there in 1898. He studied with Delacroix and Couture and settled in 1852 in the Place Pigalle where he lived the rest of his life.

**SLEEP.** Oil on canvas, 26⅛ x 41¾ inches.

SIGNED: P. Puvis de Chavannes.

The Theodore M. Davis Collection.

NOTE: A study for, or a small replica of, the large painting in the Musée de Lille, which was painted in 1864 and exhibited in the Salon of 1867.

LIT.: M. M. A. Bulletin, Vol. XXVI, March, Section II, 1931, p. 15.

### GUSTAVE COURBET. *French School.*

Gustave Courbet was born at Ornans in 1819; died near Vevey, Switzerland in 1877. He became associated with the communist movement in 1871 and created the Federation of Artists. He suffered from political intrigue and retired to the Tour de Peilz on the Lake of Geneva in 1873.

### MARINE — THE WATERSPOUT.

Oil on canvas, 27⅛ x 39¼ inches.

SIGNED: G. Courbet 76.

[5]

DEGAS

THE REHEARSAL ROOM

### HILAIRE GERMAIN EDGAR DEGAS. *French School.*

Edgar Degas was born in Paris in 1834; died in 1917. He entered the Ecole des Beaux Arts in 1853 and a year later went to study the Italian masters in Rome. He changed his style in 1865. He visited America after the war in 1870. He became blind in later life, ending his days alone in his Montmartre studio.

THE REHEARSAL ROOM. Oil on canvas, 15⅜ x 35¼ inches.

SIGNED: Degas.

COLL.: E. F. Milliken.

### GASPARD DUGHET. *French School.*

Son of a Parisian who had settled in Rome, Gaspard Dughet was born in Rome in 1613 and died there in 1675. He became the brother-in-law of Nicolas Poussin and was later known as Gaspard-Poussin.

LANDSCAPE. Oil on canvas, 37⅞ x 60¼ inches.

COLL.: H. A. J. Munro (1867); Sir James Knowles (1908).

LIT.: Waagen, Treasures of Art in Great Britain, 1864, Vol. II, p. 133; M. M. A. Bulletin, 1908 (Nov.), Vol. III, p. 209; Knowles Sale Catalogue, Christies, May 27, 1908, no. 417.

### UNKNOWN VERONESE PAINTER. *Italian School.*

SCENES FROM THE LIFE OF CHRIST (Triptych). This triptych may have been painted in Verona during the first quarter of the XV century. It can be associated with French and German works (School of the Middle Rhine).

SCENES FROM THE LIFE OF CHRIST. Tempera on wood; gold ground. Central panel, 20¾ x 14¾; each side panel, 21½ x 6½ inches

LIT.: R. Fry, Met. Mus. Bull., IV (1909), p. 88; R. van Marle, Ital. Schools, IX (1927), pp. 367 ff., fig. 232.

[6]

UNKNOWN FLORENTINE PAINTER

STORY OF ESTHER

### UNKNOWN FLORENTINE PAINTER. *Italian School.*

THE STORY OF ESTHER (Cassone panel). This panel may have served as a decoration for a marriage chest made in a prominent Florentine workshop between 1460 and 1470. It describes the story of Esther (Esther 2). The church in the background may be S. Maria del Fiore in Florence.

### THE STORY OF ESTHER.

Tempera on wood. 17½ x 55¾ inches.

INSCRIBED (beneath the figure of Esther): Ester.

COLL.: Jean Dollfus, Paris.

LIT.: A. Alexandre, Les Arts, m (1904), Jan., p. 9; P. Schubring, Cassoni (1915), p. 266, no. 191, pl. XLI; B. Burroughs, Met. Mus. Bull., XIV (1919), pp. 6 ff., ill.

EXH.: Louvre, Paris, 1885; Kleinberger Galleries, New York, 1917.

### GIOVANNI DI PAOLO DI GRAZIA. *Italian School, Siena.*

Giovanni di Paolo was born about 1402 and died about 1482. He was influenced by the Sienese Taddeo di Bartolo and Sassetta and by Gentile da Fabriano, the Umbrian Painter.

### SAINT MATTHEW AND SAINT FRANCIS.

Tempera on wood; gold ground. 52⅜ x 34¼ inches.

INSCRIBED (on haloes):

SANCTVS MACTEVS APOSTOLVS; SANCTVS F[RANCISCV]S SERA[F]RICV[S].

COLL.: Oliviera, Florence.

LIT.: B. Berenson, Cent. Ital. Ptrs. (1909), p. 178, and Ital. Pictures (1932); J. Breck, Art in Amer., II (1914), pp. 180 f., fig. 2; R. van Marle, Ital. Schools, IX (1927), p. 404, fig. 260; M. Gengaro, La Diana, VII (1932), p. 31; J. Pope-Hennessy, Giovanni di Paolo (1937), pp. 12 f., 19, 47.

[7]

MORONI PORTRAIT OF A GERMAN WARRIOR

### GIOVANNI BATTISTA MORONI. *Italian School, Brescia.*

Moroni was born in 1525 and died in 1578. He was influenced by Venetian painting through his association with his teacher Moretto and worked both in Brescia and Bergamo.

### PORTRAIT OF A GERMAN WARRIOR.

Oil on canvas. 48 x 40½ inches.

COLL.: Bonomi-Cereda, Milan; Theodore M. Davis, Newport.

LIT.: C. von Luetzow, Graphischen Kuenste, XVI (1891), p. 23; B. Berenson, Gaz. des B.A., XB (1896), p. 201; N. Ital. Ptrs. (1907), p. 272; Ital. Pictures (1932), p. 382; Boston Mus. Bull., I (1903), p. 30; B. Burroughs, Met. Mus. Bull., XXVI (1931), Mar., sect II, p. 15; G. Lendorff, Giovanni Battista Moroni (1933), pp. 25, 27, 59.

EXH.: Museum of Fine Arts, Boston, 1903.

### JACOPO ROBUSTI called TINTORETTO. *Italian Sch., Venice.*

Tintoretto was born in 1518 and died in 1594. A pupil of Titian, he later studied from the antique and Michelangelo. Between 1564 and 1577 he painted the decorations for the Doge's Palace and the Scuola di San Rocco.

### THE LAST SUPPER (Early Copy). Oil on canvas. 25¾ x 38 inches.

COLL.: Lord Methuen, Corsham Court, Wiltshire.

LIT.: J. Britton, Historical Account of Corsham House; Met. Mus. Bull., II (1907), p. 172, ill.; E. M. Phillipps, Tintoretto (1911), p. 49; F. P. B. Osmaston, The Art and Genius of Tintoret (1915), II, p. 70; ill. in E. von der Bercken and A. L. Mayer, Jacopo Tintoretto, 1923, II, p. 82.

[8]

DOMENICO TIEPOLO THE GLORIFICATION OF JACOPO GIUSTINIANI

### GIOVANNI DOMENICO TIEPOLO. *Italian School, Venice.*

Domenico Tiepolo, the son of Giovanni Battista, was born in 1727 and died in 1804. Strongly influenced by his father he executed nevertheless many independent commissions. THE GLORIFICATION OF JACOPO GIUSTINIANI is a sketch for the ceiling decoration in the Doge's Palace, Genoa.

### THE GLORIFICATION OF JACOPO GIUSTINIANI.

Oil on canvas. 46 x 32½ inches.

COLL.: Osnaga, Padua.

LIT.: B. Burroughs, Met. Mus. Bull., VIII (1913), pp. 70 f., ill.; S. de V. Battaglia, R. Istituto d' Archeologia e Storia dell'Arte (1931), III, pp. 8 f., VI: A. McComb, Baroque Ptrs. of It. (1934), p. 127; M. Goering, in Thieme-Becker, XXXIII (1939), p. 160.

### LUCAS CRANACH. *German School.*

Cranach was born in 1472 and died in 1553. The name of Lucas Cranach is associated not only with the artist himself but with his workshop made up of Cranach, his two sons and many apprentices.

### JUDITH WITH THE HEAD OF HOLOFERNES.

Wood, 35¼ x 24¾ inches.

SIGNED with winged serpent.

COLL.: Robert Hoe.

LIT.: Friedlaender and Rosenberg, Die Gemaelde von Lucas Cranach, 1932, p. 65, cat. no. 190e: Hoe Sale Catalogue, 1911, no. 107; M. M. A. Bull. 1911 (May), p. 124.

[9]

VAN GOYEN

THE MOERDYCK

### JEAN VAN GOYEN. *Dutch School.*

Van Goyen was born in Leyden in 1596 and died in 1656. He became a pupil of Esaias van de Velde in Haarlem. From 1634 he lived permanently in the Hague. He was one of the masters of Dutch landscape painting.

THE MOERDYCK. Oil on canvas, 15 x 24¼ inches.

SIGNED: VG 1654.

COLL.: Baron of Mecklembourg; Comte Cornet.

### SALOMON VAN RUISDAEL. *Dutch School.*

Salomon van Ruisdael was born in Haarlem in 1600 and died there in 1670. Probably the pupil of Jean van Goyen, he was already prominent in 1628. Together with his nephew Jacob Ruisdael he was outstanding in landscape painting.

HAARLEM, HOLLAND. Oil on canvas, 41⅞ x 52½ inches.

SIGNED: S. Ruisdael 1646.

COLL.: Morris K. Jesup.

LIT.: M. M. A. Bulletin, p. 88.

[10]

BEERSTRAATEN

SKATING AT SLOOTEN

### JAN ABRAHAMS BEERSTRAATEN. *Dutch School.*

Beerstraaten was born in Amsterdam in 1622 and died there in 1687. He liked winter scenes with groups of small figures and painted them with sharp contrasts of light and shade.

SKATING AT SLOOTEN. Oil on canvas, 36¼ x 51⅜ inches.

SIGNED Slooten, J. Beerstraaten, Pingit.

### AELBERT CUYP. *Dutch School.*

Aelbert Cuyp was born in Dordrecht in 1620 and died there in 1691. He studied with his father Jacob Gerrits Cuyp. He was fond of both the land and the sea and these formed the subjects of many of his paintings.

### TWO HORSEMEN BEFORE AN INN.

Oil on wood, 23¼ x 19¼ inches.

SIGNED: S. Cuyp.

COLL.: Earl of Kilmorey; Maurice Kann; August de Ridder.

LIT.: Hofstede de Groot, Catalogue of Dutch painters, Vol. II, 1909, pp. 156-157; no. 514 (Coll. Earl of Kilmorey; no. 516 (Coll. Maurice Kann). Hofstede de Groot thought these were two pictures but they are identical; Bode, La Collection Maurice Kann, 1911, p. 22; Bode, La Galerie des tableaux de feu M. A. de Ridder, 1913, p. 14 (dates it around 1665); M. M. A. Bull., Vol. XXXIII, 1938 (Feb.), p. 36.

[11]

BRAMER

JUDGMENT OF SOLOMON

### LEONARD BRAMER. *Dutch School*.

Bramer was born in Delft in 1596 and died about 1675. He visited France and Italy and afterwards spent most of his life in Delft. He was closely associated with Rembrandt.

JUDGMENT OF SOLOMON. Oil on wood, 31⅛ x 40½ inches.

### ROGIER VAN DER WEYDEN. *Flemish School*.

Rogier van der Weyden was born in Tournai about 1399 and died in 1464. He visited Italy from 1449 to 1450. He painted the polyptych of the Last Judgment for the Hospital of Beaune between 1443 and 1450.

### DESCENT FROM THE CROSS (Copy).

Oil on canvas, 47¾ x 40¼ inches.

NOTE: This is a copy with variations of the Deposition by Roger van der Weyden in the Mauritshuis, The Hague (Friedlaender, Altniederlaendische Malerei V. II, 1924, p. 106.

[12]

AELBERT BOUTS

THE MAN OF SORROWS

### AELBERT BOUTS. *Flemish School*.

Aelbert or Aelbrecht Bouts, the second son of Dirk, was born about 1460 and died about 1549. He is known for the Assumption of the Virgin which he painted for the Lady Chapel of St. Pierre in Louvain.

THE MAN OF SORROWS. Oil on wood, 17½ x 11¼ inches.

COLL.: Alfred Beurdeley, Paris.

LIT.: Friedlaender M. J., Altniederlaendische Malerei, 1925, Vol. III, p. 118, no. 63b pl. LX: Schoene W. Dieric Bouts und seine Schule, 1938, p. 199, no. 33; Beurdeley Sale Catalogue, Paris, Georges Petit, May 6-8, 1920, no. 138.

### SIR ANTHONY VAN DYCK. *Flemish School*.

Van Dyck was born in Antwerp 1599 and died in London 1641. He was a pupil of Rubens and they frequently worked together. He visited Italy and lived in Antwerp and London where he became painter to King Charles I.

PORTRAIT OF A MAN. Oil on wood, 41⅝ x 28¾ inches.

COLL.: Lord Methuen.

LIT.: Britton, Corsham House ... seat of Paul Cobb Methuen ... with a catalogue of his pictures, 1806, p. 54, no. 160 (attributed to Rubens); Schaeffer, Van Dyck, 1909, p. 137.

[13]

From the Department of Art

This exhibition has been made possible by the generous
understanding of the Metropolitan Museum for our college
campus which, lying in almost open country, lacks the op-
portunities of the city for seeing the paintings of masters.

There is hardly any need to point out the influence which
these paintings have had upon the mind of the attentive stu-
dent. Equally important is the experience gained by the art
student from the direct visual perception of the paintings'
texture with its unceasing interplay of glazes and under-
paintings and their relationship to the paintings' structure.
That the possibilities inherent in such an exhibition have
come to a highly satisfactory realization, is being amply
proven by the ever increasing interest in this collection.

Whether these paintings came from medieval Siena and
Florence or from Paris, Haarlem, or Antwerp, they seem
surprisingly at home in the Josephine Long Wishart Museum

[14]

of Art. Perhaps this is so because the simplicity of a real
Ohio brick wall, which moves upward toward the high
ceiling of this exhibition room, provides an adequate ac-
companiment for the trueness of the paintings. Or is it so
because it is rare to see such a precious collection in a room
like this, high above the trees and overlooking the vast dis-
tances of the Wooster hills?

Certainly those who were present on one of these recent
late afternoons and whose eyes were carried toward the
hills bathed in the glorious light of the autumn, gained an
experience which they will not easily forget, as they turned
backward to face the splendor of these works of art.

There is no doubt that there should be in the future an
ever increasing number of museums of art attached to
colleges, and especially to colleges of liberal arts. What they
are able to provide in terms of visual experience and,
through this, in bringing closer to students the revelations
of the human mind, can be achieved in no better way.

We do hope, therefore, that this superb start which has
been given to our museum by the Metropolitan Museum
of Art will not stop here, but continue. At some future
day The College of Wooster may possess its own collection
of works, not large in numbers, perhaps, but precious in
its quality. It will remind us, then, of this first exhibition
and what it brought to us with its message of strength,
beauty, and encouragement.

November 1944

THEODORE BRENSON

[15]

## FOREWORD

Mr. Jacques Maroger was born in Paris in 1884. He now lives in New York and teaches in this city and in Baltimore. Before this war, he was Technical Director of the Laboratory at the Louvre, President of the Society of French Restorers of Paintings, and for many years he painted for the Gobelins.

Since the turn of the century, Mr. Maroger devoted most of his time trying to rediscover the medium which was used by the painters of the Renaissance, and he finally found one which resembled the medium of the old Masters. Upon trying it, Roger Fry wrote: "You have accomplished a fine work with a courage and perseverance which I cannot praise enough because you sacrificed yourself wholly to the interest of art. At least your name, I hope, will remain by the side of Van Eyck, as one of the great benefactors of the artists of all time. I will be happy and proud to help you make your discovery known!"

Augustus Johns writes: "I don't know how, exactly, but the new medium seems to me really better than the other, which astonishes me. Oh, if I had only had it twenty years ago! My dear, in any case you are saving my life. I know that you have all the knowledge I lack and that I shall gain greatly from your counsels and help."

The medium is a compound of black oil (linseed oil cooked with lead) and either mastic varnish or damar and gum arabic. It permits glazing, superimposition or blending at will, and is permanent and brilliant. Raoul Dufy used it to paint the large panel "Histoire de l'Electricité" (60 x 10 meters) which decorated one of the buildings of the 1937 Paris World's Fair and for which the artist was awarded the grande médaille d'honneur.

In our time, artists have their first one-man show when they graduate from high school. Mr. Maroger, who has devoted his existence to painting, has waited until today, now that he is sixty, to have his first exhibition. Fate is often ironical but as the French say: "Il n'est jamais trop tard pour bien faire." Surely, Mr. Maroger has effectively put this proverb into practice.

REGINALD MARSH

1. Portrait of General Charles de Gaulle

2. Portrait of Reginald Marsh

3. Still Life, Coq blanc

4. Still Life, La soupière d'argent

5. Sortie de Bal

6. Chinoiserie

7. Fantaisie

8. Fantaisie

9. Flowers

10. Flowers

11. Flowers

12. Flowers

13. Flowers

14. Flowers

15. Flowers

16. Flowers

17. Flowers

18. Flowers

19. Flowers

20. Flowers

## DRAWINGS

21. Study of hands

22. Study of hands

23. Study of a male nude

24. Study of a woman