Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 15

DURER'S HABITS AND LITERARY WORKS.

Durer always lived in a frugal manner, without the least ostentation for the distinguished favors heaped upon him. He applied himself to his profession with the most constant and untiring industry, which, together with his great knowledge, great facility of mechanical execution, and a remarkable talent for imitation, enabled him to rise to such distinction, and to exert so powerful an influence on German art for a great length of time. He was the first artist in Germany who practiced and taught the rules of perspective, and of the proportions of the human figure, according to mathematical principles. His treatise on proportions is said to have resulted from his studies of his picture of Adam and Eve. His princ.i.p.al works are _De Symmetria partium in rectis formis humanorum corporum_, printed at Nuremberg in 1532; and _De Verieitate Figurarum, et flexuris partium, et Gestibus Imaginum_; 1534.

These works were written in German, and after Durer's death translated into Latin. The figures ill.u.s.trating the subjects were executed by Durer, on wood, in an admirable manner. Durer had also much merit as a miscellaneous writer, and labored to purify and elevate the German language, in which he was a.s.sisted by his friend, W. Pirkheimer. His works were published in a collected form at Arnheim, in 1603, folio, in Latin and in French. J. J. Roth wrote a life of Durer, published at Leipsic in 1791.

LUDOLPH BACKHUYSEN.

This eminent painter was born in 1631. His father intended him for the mercantile profession, but nature for a marine painter. His pa.s.sion for art induced him to neglect his employer's business, with whom his father had placed him, and to spend his time in drawing, and in frequenting the studios of the painters at Amsterdam. His fondness for shipping led him frequently to the port of the city, where he made admirable drawings of the vessels with a pen, which were much sought after by the collectors, and were purchased at liberal prices. Several of his drawings were sold at 100 florins each. This success induced him to paint marine subjects.

His first essays were successful, and his pictures universally admired.

While painting, he would not admit his most intimate friends to his studio, lest his fancy might be disturbed. He hired fishermen to take him out to sea in the most tremendous gales, and on landing, he would run impatiently to his palette to secure the grand impressions of the views he had just witnessed. He has represented that element in its most terrible agitation, with a fidelity that intimidates the beholder. His pictures on these subjects have raised his reputation even higher than that of W. van de Velde; although the works of the later, which represent the sea at rest, or in light breezes, are much superior, and indeed inimitable. His pictures are distinguished for their admirable perspective, correct drawing, neatness and freedom of touch, and remarkable facility of execution. For the burgomasters of Amsterdam, he painted a large picture with a mult.i.tude of vessels, and a view of the city in the distance; for which they gave him 1,300 guilders, and a handsome present. This picture was presented to the King of France, who placed it in the Louvre. The King of Prussia visited Backhuysen, and the Czar Peter took delight in seeing him paint, and often endeavored to make drawings after vessels which the artist had designed.

JOHN BAPTIST WEENIX, THE ELDER.

This eminent Dutch painter was born at Amsterdam in 1621. He possessed extraordinary and varied talents. He painted history, portraits, landscapes, sea-ports, animals, and dead game, in all which branches he showed uncommon ability; but his greatest excellence lay in painting Italian sea-ports, of a large size, enriched with n.o.ble edifices, and decorated with figures representing embarkations and all the activity of commercial industry. In these subjects he has scarcely been surpa.s.sed except by his pupil, Nicholas Berghem.

WEENIX'S FACILITY OF HAND.

Houbraken relates several instances of his remarkable facility of hand.

He frequently painted a large landscape and inserted all the figures in a single day--feats so much admired in Salvator Rosa, and Gaspar Ponssin. On one occasion he commenced and finished three portraits, on canva.s.s, of three-quarters size, with heads as large as life, from sun-rise to sun-set, on a summer's day. Lanzi warns all artists, especially the youthful aspirant, not to imitate such expedition, as they value their reputation.

JOHN BAPTIST WEENIX, THE YOUNGER.

Was the son of the preceding, and born at Amsterdam in 1644. Possessing less varied talent than his father; he was unrivaled in painting all sorts of animals, huntings, dead games, birds, flowers, and fruit. He was appointed Court painter to the Elector Palatine, with a liberal pension, and decorated his palace at Bernsberg with many of his choicest works. He painted in one gallery a series of pictures representing the Hunting of the Stag; and in another the Chase of the Wild Boar, which gained him the greatest applause. There are many of his best works in the Dusseldorf Gallery. He painted all kinds of birds and fowls in an inimitable manner; the soft down of the duck, the glossy plumage of the pigeon, the splendor of the peac.o.c.k, the magnificent spread of an inanimate swan producing a flood of light, and serving as a contrast to all the objects around it, are so attractive that it is impossible to contemplate one of his pictures of these subjects without feeling admiration and delight at the painter's skill in rivaling nature.

JAN STEEN.

The life of this extraordinary artist, if we are to believe his biographers, is soon told. He was born at Leyden in 1636. He early exhibited a pa.s.sion for art, which his father, a wealthy brewer of that city, endeavored to restrain, and afterwards apprehending that he could not procure a comfortable subsistence by the exercise of his pencil, established him in his own business at Delft, where, instead of attending to his affairs, he gave himself up to dissipation, and soon squandered his means and ruined his establishment; his indulgent parent, after repeated attempts to reclaim him, was compelled to abandon him to his fate. He opened a tavern, which proved more calamitous than the former undertaking. He gave himself up entirely to reveling and intoxication, wrought only when his necessities compelled him, and sold his pictures to satisfy his immediate wants, and often for the most paltry prices to escape arrest.

JAN STEEN'S WORKS.

The pictures of Jan Steen usually represent merry-makings, and the frolics and festivities of the ale-house, which he treated with a characteristic expression of humorous drollery, that compensated for the vulgarity of his subjects. He sometimes painted interiors, domestic a.s.semblies, conversations, mountebanks, etc., which he generally accompanied with some facetious trait of wit or humor, admirably rendered. Some of his works of this description are little inferior to the charming productions of Gabriel Metzu. His compositions are ingenious and interesting, his design is correct and spirited, his coloring chaste and clear, and his pencil free and decided. He also had a good knowledge of the chiaro-scuro, which enabled him to give his figures a fine relief. His works are invariably finished with care and diligence, and do not betray any haste or infirmity of hand or head. It is evident that, from some untoward circ.u.mstance, his works were not appreciated in his day, but after his death they rose amazingly in value, and have continued to increase ever since,--a true test of a master's merit--till now they are scarcely to be found except in royal and n.o.ble collections and the public galleries of Europe. His pictures were, for a long time, scarcely known out of Holland, but now they are deservedly placed in the choicest collections. His works are very numerous, sufficient to have continually occupied the life time of not only a sober and industrious artist, but one possessing great facility of hand. Smith, in his Catalogue raisonne, vol. iv. and Supplement, gives a descriptive account of upwards of 300 genuine pictures by Steen, many of them compositions of numerous figures, and almost all of them executed with the greatest care. It cannot be believed that a man living in a state of continued dissipation and inebriety, could find time to produce so many admirable works, displaying, as they do, a deep study of human nature, and a great discrimination of character, or that the hand of a habitual drunkard could operate with such beauty and precision. Nor is it probable that a mind besotted by drink, and debased by low intercourse, could moralize so admirably as he has done on the evil consequences of intemperance and the indulgence of evil pa.s.sions.

KUGLER'S CRITIQUE ON THE WORKS OF JAN STEEN.

Dr Kugler, a judicious critic, thus sums up his character as an artist: "The works of Jan Steen imply a free and cheerful view of common life, and he treats it with a careless humor, such as seems to deal with all its daily occurrences, high and low, as a laughable masquerade and a mere scene of perverse absurdity. His treatment of the subjects differed essentially from that adopted by other artists. Frequently, indeed, they are the same jolly drinking parties, or the meetings of boors; but in other masters the object is, for the most part, to depict a certain situation, either quiet or animated, whilst in Jan Steen is generally to be found action more or less developed, together with all the reciprocal relations and interests between the characters which spring from it. This is accompanied by great variety and force of individual expression, such as evinces the sharpest observation. He is almost the only artist in the Netherlands who has thus, with true genius, brought into full play all these elements of comedy. His technical execution suits his design; it is carefully finished, and notwithstanding the closest attention to minute details, it is as firm and correct as it is light and free."

FROLICS OF MIERIS AND JAN STEEN.

Sandrart says that Mieris had a real friendship for Jan Steen, and delighted in his company, though he was by no means fond of drinking as freely as Jan was accustomed to do every evening at the tavern.

Notwithstanding this, he often pa.s.sed whole nights with his friend in a joyous manner, and frequently returned very late to his lodging. One evening, when it was very dark and almost midnight, as Mieris strolled home from the tavern, he unluckily fell into the common sewer, which had been opened for the purpose of cleansing, and the workmen had left unguarded. There he must have perished, had not a cobbler and his wife, who worked in a neighboring stall, heard his cries and instantly ran to his relief. Having extricated Mieris, they took all possible care of him, and procured the best refreshment in their power. The next morning Mieris, having thanked his preservers, took his leave, but particularly remarked the house, that he might know it another time. The poor people were totally ignorant of the person whom they had relieved, but Mieris had too grateful a heart to forget his benefactors, and having painted a picture in his best manner, he brought it to the cobbler and his wife, telling them it was a present from the person whose life they had contributed to save, and desired them to carry it to his friend Cornelius Plaats, who would give them the full value for it. The woman, unacquainted with the real worth of the present, concluded she might receive a moderate gratuity for the picture, but her astonishment was inexpressible, when she received the sum of eight hundred florins.

SIR ANTHONY MORE.

This eminent painter was born at Utrecht, in 1519. In 1552, he accompanied the Cardinal Granville to Spain, who recommended him to the patronage of the Emperor Charles V., whose portrait he painted, and that of Prince Philip, which gave so much satisfaction to the monarch, that he sent him to Portugal, to paint the portraits of King John III., Catherine of Austria his Queen, and sister to Charles, and that of their daughter, the Princess Donna Maria, then contracted to Philip; he also painted the portrait of Donna Catalina, Charles' younger sister; all of which gave entire satisfaction, and the artist was munificently rewarded, and the honor of knighthood conferred on him. The Emperor next despatched More to England to take the portrait of the princess Mary previous to her marriage with Philip of Spain. On this occasion, he is said to have employed all the flattering aids of his art, and so captivated the courtiers of Spain, with the charms of Mary's person, that he was employed by Cardinal Granville and several of the grandees to make copies of it for them. He accompanied Philip to England, where he remained till the death of Queen Mary, who highly honored him, presented him a gold chain, and allowed him a pension of 100 a year.

The Emperor Charles V. having abdicated in favor of his son Philip II., the latter returned to Spain, and made More his court-painter, where his talents procured him great respect and abundant employment.

SIR ANTHONY MORE AND PHILIP II.

Philip II. was accustomed to honor More by frequent visits to his studio, on which occasions he treated him with extraordinary familiarity. One day, in a moment of condescension and admiration, the monarch jocosely slapped More on the shoulder which compliment the painter, in an unguarded moment, playfully returned by smearing his hand with a little carmine from his brush. The King withdrew his hand and surveyed it for a moment, seriously; the courtiers were petrified with horror and amazement; the hand to which ladies knelt before they had the honor to kiss it, had never before been so dishonored since the foundation of the monarchy; at that moment the fate of More was balanced on a hair; he saw his rashness, fell on his knees, kissed the King's feet, and humbly begged pardon for the offence. Philip smiled, and pardoned him, and all seemed to be well again; but the person of the King was too sacred in those days, and the act too daring to escape the notice of the Inquisition, from whose bigotry and vengeance the King himself could not have shielded him. Happily for More, one of Philip's ministers advised him of his danger, and without loss of time he set out for Brussels, upon the feigned pretence of pressing engagements, nor could Philip ever induce him to return to his court.

MORE'S SUCCESS AND WORKS.