Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 6

SIR ANTHONY VANDYCK.

This eminent Flemish painter was born at Antwerp in 1599. His father early gave him instruction in drawing; he was also instructed by his mother, who painted landscapes, and was very skillful in embroidery. He studied afterwards under Henry van Balen, and made rapid progress in the art; but attracted by the fame of Rubens, he entered the school of that master, and showed so much ability as to be soon entrusted with the execution of some of his instructor's designs. Some writers, among whom D'Argenville was the first, a.s.sert that Rubens became jealous of Vandyck's growing excellence, and therefore advised him to devote himself to portrait painting; a.s.signing the following anecdote as the cause of his jealousy. During the short absences of Rubens from his house, for the purpose of recreation, his disciples frequently obtained access to his studio, by means of bribing an old servant who kept the keys; and on one of these occasions, while they were all eagerly pressing forward to view the great picture of the Descent from the Cross (although later investigations concerning dates seem to indicate that it was some other picture), Diepenbeck accidentally fell against the canvas, effacing the face of the Virgin, and the Magdalen's arm, which had just been finished, and were not yet dry. Fearful of expulsion from the school, the terrified pupils chose Vandyck to restore the work, and he completed it the same day with such success that Rubens did not at first perceive the change, and afterwards concluded not to alter it.

Walpole entertains a different and more rational view respecting Rubens' supposed jealousy: he thinks that Vandyck felt the hopelessness of surpa.s.sing his master in historical painting, and therefore resolved to devote himself to portrait. One authority states that the above mentioned incident only increased Rubens' esteem for his pupil, in perfect accordance with the distinguished character for generosity and liberality, which that great master so often evinced, and which forms very strong presumptive evidence against so base an accusation. Besides, his advice to Vandyck to visit Italy--where his own powers had been, as his pupil's would be, greatly strengthened--may be considered as sufficient to refute it entirely. They appear to have parted on the best terms; Vandyck presented Rubens with an Ecce h.o.m.o, Christ in the Garden, and a portrait of Helen Forman, Rubens' second wife; he was presented in return, by Rubens, with one of his finest horses.

VANDYCK'S VISIT TO ITALY.

At the age of twenty, Vandyck set out for Italy, but delayed some time at Brussels, fascinated by the charms of a peasant girl of Saveltheim, named Anna van Ophem, who persuaded him to paint two pictures for the church of her native place--a St. Martin on horseback, painted from himself and the horse given him by Rubens; and a Holy Family, for which the girl and her parents were the models. On arriving in Italy, he spent some time at Venice, studying with great attention the works of t.i.tian; after which he visited Genoa, and painted many excellent portraits for the n.o.bility, as well as several pictures for the churches and private collections, which gained him great applause. From Genoa he went to Rome, where he was also much employed, and lived in great style.

His portrait of Cardinal Bentivoglio, painted about this time, is one of his masterpieces, and in every respect an admirable picture; it is now in the Palazzo Pitti, at Florence, hanging near Raffaelle's celebrated portrait of Leo X. Vandyck was known at Rome as the _Pittore Cavalieresco_; his countrymen there being men of low and intemperate habits, he avoided their society, and was thenceforward so greatly annoyed by their criticisms and revilings, that he was obliged to leave Rome about 1625, and return to Genoa, where he met with a flattering reception, and plentiful encouragement. Invited to Palermo, he visited that city, and painted the portraits of Prince Philibert of Savoy, the Viceroy of Sicily, and several distinguished persons, among whom was the celebrated paintress Sofonisba Anguisciola, then in her 92d year; but the plague breaking out, he returned to Genoa, and thence to his own country.

VANDYCK'S RETURN TO ANTWERP.

On his return to Antwerp, whither his reputation had preceded him, Vandyck was speedily employed by various religious societies, and his picture of St. Augustine for the church of the Augustines in that city, established his reputation among the first painters of his time. He painted other historical pictures, for the princ.i.p.al public edifices at Antwerp, Brussels, Mechlin, and Ghent; but acquired greater fame by his portraits, particularly his well known series of the eminent artists of his time, which were engraved by Vorstermans, Pontius, Bolswert, and others. His brilliant reputation at length roused the jealousy of his cotemporaries, many of whom were indefatigable in their intrigues to calumniate his works. In addition to these annoyances, the conduct of the canons of the Collegiate church of Courtray, for whom he painted an admirable picture of the Elevation of the Cross, proved too much for his endurance. After he had exerted all his powers to produce a masterpiece of art, the canons, upon viewing the picture, p.r.o.nounced it a contemptible performance, and the artist a miserable dauber; and Vandyck could hardly obtain payment for his work. When the picture had received high commendation from good judges, they became sensible of their error, and requested him to execute two more works; but the indignant artist refused the commission. Disgusted with such treatment, Vandyck readily accepted an invitation to visit the Hague, from Frederick, Prince of Orange, whose portrait he painted, and those of his family, the princ.i.p.al personages of his court, and the foreign amba.s.sadors.

VANDYCK'S VISIT TO ENGLAND.

Hearing of the great encouragement extended to the arts by Charles I., he determined to visit England in 1629. While there, he lodged with his friend and countryman, George Geldorp the painter, and expected to be presented to the king; but his hopes not being realized, he visited Paris; and meeting no better success there, be returned to his own country, with the intention of remaining there during the rest of his life. Charles, however, having seen a portrait by Vandyck, of the musician, Fic. Laniere, director of the music of the king's chapel, requested Sir Kenelm Digby to invite him to return to England.

Accordingly, in 1631, he arrived a second time at London, and was received by the king in a flattering manner. He was lodged at Blackfriars, among the King's artists, where his majesty frequently went to sit for his portrait, as well as to enjoy the society of the painter.

The honor of knighthood was conferred upon him in 1632, and the following year he was appointed painter to the king, with an annuity of 200.

Prosperity now flowed in upon the Fleming in abundance, and although he operated with the greatest industry and facility, painting single portraits in one day, he could hardly fulfill all his commissions.

Naturally fond of display, he kept a splendid establishment, and his sumptuous table was frequented by persons of the highest distinction.

He often detained his sitters to dinner, where he had an opportunity to observe more of their peculiar characteristics, and retouched their pictures in the afternoon. Notwithstanding his distinguished success, he does not appear to have been satisfied with eminence in portrait painting; and not long after his marriage with Maria Ruthven, granddaughter of Lord Gowrie, he went to Antwerp with his lady, on a visit to his family and friends, and thence proceeded to Paris. The fame which Rubens had acquired by his celebrated performances at the Luxembourg, rendered Vandyck desirous to execute the decorations at the Louvre; but on arriving at the French capital, he found the commission disposed of to Nicholas Poussin. He soon returned to England, and being still desirous of executing some great work, proposed to the king through Sir Kenelm Digby, to decorate the walls of the Banqueting House (of which the ceiling was already adorned by Rubens), with the History and Progress of the Order of the Garter. The sum demanded was 8000, and while the king was treating with him for a less amount, the project was terminated by the death of Vandyck, December 9th, 1641, aged 42 years.

He was buried with extraordinary honors in St. Paul's cathedral. His high living had brought on the gout during his latter years, and luxury had considerably reduced his fortune, which he endeavored to repair by the study of alchemy. He left property amounting to about 20,000. In his private character, Vandyck was universally esteemed for the urbanity of his manners, and his generous patronage to all who excelled in any science or art, many of whose portraits he painted gratuitously.

WILLIAM VAN DE VELDE, THE ELDER.

This eminent Dutch marine painter was born at Leyden, in 1610. He drew everything after nature, and was one of the most correct, spirited, and admirable designers of marine subjects. He made an incredible number of drawings on paper, heightened with India ink, all of them sketched from nature with uncommon elegance and fidelity. His talents recommended him to the notice of the States of Holland, and Descamps says they furnished him with a small vessel to accompany their fleets, that he might design the different manoeuvres and engagements; that he was present in various sea-fights, in which he fearlessly exposed himself to the most imminent danger, while making his sketches; he was present at the severe battle between the English and Dutch fleets, under the command of the Duke of York and Admiral Opdam, in which the ship of the latter, with five hundred men, was blown up, and in the still more memorable engagement in the following year, between the English under the Duke of Albemarle, and the Dutch Admiral de Ruyter, which lasted three days. It is said that during these engagements he sailed alternately between the fleets, so as to represent minutely every movement of the ships, and the most, material circ.u.mstances of the actions with incredible exactness and truth. So intent was he upon his drawing, that he constantly exposed himself to the greatest danger, without the least apparent anxiety. He wrote over the ships their names and those of their commanders; and under his own frail craft _V. Velde's Gallijodt_, or _Myn Gallijodt_.

VAN DE VELDE AND CHARLES II.

After having executed many capital pictures for the States of Holland, Van de Velde was invited to England by Charles II., who had become acquainted with his talents during his residence in Holland. He arrived in London about 1675, well advanced in years, and the king settled upon him a pension of 100 per annum until his death, in 1693, as appears from this inscription on his tomb-stone in St. James' church: "Mr.

William van de Velde, senior, late painter of sea-fights to their Majesties, King Charles II. and King James, died in 1693." He was accompanied by his son, who was also taken into the service of the king, as appears from an order of the privy seal, as follows: "Charles the Second, by the grace of G.o.d, &c., to our dear Cousin, Prince Rupert, and the rest of our commissioners for executing the place of Lord High Admiral of England, greeting. Whereas, we have thought fit to allow the salary of 100 per annum unto William van de Velde the Elder, for taking and making draughts of sea-fights; and the like salary of 100 per annum unto William van de Velde the younger, for putting the said draughts in color for our particular use; our will and pleasure is, and we do hereby authorize and require you to issue your orders for the present and the future establishment of said salaries to the aforesaid William van de Velde the Elder and William van de Velde the Younger, to be paid unto them, or either of them, during our pleasure, and for so doing, these our letters shall be your sufficient warrant and discharge. Given under our privy-seal, at our palace of Westminster, the 20th day of February, in the 26th year of our reign."

Many of the large pictures of sea-fights in England, and doubtless in Holland, bearing the signature _W. van de Velde_, and generally attributed to the son, were executed by him from the designs of his father. Such are the series of twelve naval engagements and sea-ports in the palace at Hampton Court, though signed like the best works of the younger van de Velde; they are dated 1676 and 1682.

WILLIAM VAN DE VELDE THE YOUNGER.

This eminent artist was the son of the preceding, and born at Amsterdam in 1633. He had already acquired a distinguished reputation in his native country for his admirable cabinet pictures of marine subjects, when he accompanied his father to England, where his talents not only recommended him to the patronage of the king, but to the princ.i.p.al n.o.bility and personages of his court, for whom he executed many of his most beautiful works. "The palm," says Lord Orford, "is not less disputed with Raffaelle for history, than with Van de Velde for sea-pieces." He died in 1707.

THE YOUNGER VAN DE VELDE'S WORKS.

Like his father, the younger Van de Velde designed everything from nature, and his compositions are distinguished by a more elegant and tasteful arrangement of his objects, than is to be found in the productions of any other painter of marines. His vessels are designed with the greatest accuracy, and from the improvements which had been made in ship-building, they are of a more graceful and pleasing form than those of his predecessors; the cordage and rigging are finished with a delicacy, and at the same time with a freedom almost without example; his small figures are drawn with remarkable correctness, and touched with the greatest spirit. In his calms the sky is sunny, and brilliant, and every object is reflected in the gla.s.sy smoothness of the water, with a luminous transparency peculiar to himself. In his fresh breezes and squalls, the swell and curl of the waves is delineated with a truth and fidelity which could only be derived from the most attentive and accurate study of nature; in his storms, tempests, and hurricanes, the tremendous conflict of the elements and the horrors of shipwreck are represented with a truthfulness that strikes the beholder with terror.

The works of the younger Van de Velde are very numerous, and the greater part of them are in England, where Houbraken says they were so highly esteemed that they were eagerly sought after in Holland, and purchased at high prices to transport to London; so that they are rarely to be met with in his native country. Smith, in his Catalogue raisonne, vol. vi.

and Supplement, describes about three hundred and thirty pictures by him, the value of which has increased amazingly, as may be seen by a few examples. The two marines now in the Earl of Ellesmere's collection, one a View of the Entrance to the Texel, sold in 1766 for 80, now valued at 1,000; the other sold in 1765 for 84, now valued at 500. A Sea-View, formerly in the collection of Sir Robert Peel, sold in 1772 for only 31; brought in 1828, 300. The Departure of Charles II. from Holland in 1660, sold in 1781 for 82; it brought recently, at public sale, 800. A View off the Coast of Holland sold in 1816 for 144; it brought, in Sir Simon Clarke's sale in 1840, 1,029. A View on the Sea-Sh.o.r.e, 16 inches by 12, sold in 1726 for 9, and in 1835 for 108. The picture known as _Le Coup de Canon_, sold in 1786 for 52, in 1790 for only 36, but in 1844 it brought 1,380 guineas.

The drawings, and especially the sketches and studies of the younger Van de Velde are very numerous, and prove the indefatigable pains he took in designing his vessels, their appurtenances, and the ordonnance of his compositions. His sketches are executed in black lead only; his more finished drawings with the pencil or pen, and shaded with India ink. He executed these with wonderful facility; it is recorded that he was so rapid in his sketching, that he frequently filled a quire of paper in an evening. Stanley says that during the years 1778 and 1780, about 8,000 of his drawings were sold in London at public auction. Some of his choicest drawings in India ink brought, at the sale of M. Goll de Frankenstein at Amsterdam, in 1833, and at that of the late Baron Verstolk de Soelen, in the same city in 1847, prices varying from 27 up to 144 each. He inherited his father's drawings, and all these seem now to be attributed to him.

NICHOLAS POUSSIN.

This distinguished French painter was born at Andely, in Normandy, in 1594. He was descended from a n.o.ble family, originally of Soissons, whose fortunes had been ruined in the disastrous civil wars in the time of Charles IX. and Henry III. His father, Jean Poussin, after serving in the army of Henry IV., settled on a small paternal inheritance at Andely, where he cultivated a taste for literature and the sciences, and instructed his son in the same. Young Poussin had already distinguished himself for the solidity of his judgment, and his progress in letters, when a natural fondness for drawing, developed by an acquaintance he had formed with Quintin Varin, an artist of some eminence, induced him to solict the permission of his father to adopt painting as a profession.

POUSSIN'S FIRST CELEBRITY.

In 1612, at the age of eighteen, Poussin went to Paris in search of improvement, where he devoted himself to studying the best works to which he could gain access (for the fine arts were then at a low ebb in France) with the greatest a.s.siduity. In 1620, according to Felibien, the Jesuits celebrated the canonization of the founder of their order, Ignatius Loyola and St. Francis Xavier, on which occasion they determined to display a series of pictures by the first artists in Paris, representing the miracles performed by their patron saints. Of these, Poussin painted six in distemper, in an incredibly short s.p.a.ce of time, and when the exhibition came off, although he had been obliged to neglect detail, his pictures excited the greatest admiration on account of the grandeur of conception, and the elegance of design displayed in them. They obtained the preference over all the others, and brought Poussin immediately into notice.

POUSSIN'S FIRST VISIT TO ROME.