Identifier: artoflouvreconta00pott (find matches)
Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists
Year: 1905 (1900s)
Authors: Potter, Mary Knight, d. 1915
Subjects: Musée du Louvre Painting
Publisher: Boston, L.C. Page & company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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fficer Offering Money to aYoung Girl. It gives the interior of a room, where,beside a table covered with red, sits a young girl hold-ing a glass decanter on one knee from which she isabout to fill the wine-glass in her other hand. She hasbeen interrupted by the Dutch officer who sits at herleft slightly in front. He is reaching out his fat openhand, in which are several pieces of money. It is thismovement which has made the girl stop a moment, andshe is gazing down at that unctuous palm quite obliv-ious of anything else. The officer meanwhile is lookingat her with a roll of his eyes over his fat cheeks thatsuggests anything or nothing as one may please tointerpret. Equally enigmatic is the quiet, downward lookof the girl. It is not at all certain what that blond headis thinking. In fact the countenances are as doubtfullydefinite as they would be in real life. The modelling ofthese two figures is beyond praise. The solid bulk of thesoldier is no more marvellous than the construction of
Text Appearing After Image:
AN OFFICER OFFERING MONEY TO A YOUNG GIRLBy Ter Borch Salles £*&£♦ to £££OT- 221 those pudgy hands, they no more perfect than the silkenfolds of the white satin gown, the fluffy fur about theyellow jacket or the very droop of those hiding eye-lids of that little blond head. Fourteen pictures by Wouverman and ten by Jardinare found in these Dutch rooms. Though modern tastehas relegated these two most popular painters of theirday to nearly complete oblivion, they really deserveneither such total ignoring nor the sweeping condemna-tion bestowed upon them by Ruskin. They were bothmen of decided parts, who drew with a correct and facilepencil, whose colour was generally pleasing and whosefigures had individuality and not seldom distinction.Wouverman especially was a tremendous worker, Smithin his Catalogue Raisonne crediting him with betweenseven and eight hundred pictures. They both painted allsorts of subjects, Wouverman particularly being equallyat home in any scene from a ca

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