Identifier: catpaint00worc (find matches)
Title: Catalogue of paintings and drawings.
Year: 1922 (1920s)
Authors: Worcester Art Museum
Subjects: Art Catalogs
Publisher: Worchester, Massachusetts
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
PORTRAIT OF A MAXJOOST \AX CLEVE 30 JOOST \AX CLE\E Flemish, late fifteenth ceniur>-i540PORTRAll OF A MAX Between Italian and Flemish art in ihc tificcnth and six-teenth centuries there was an unmistakable interchange. Italianidealism which influenced Europe for a hundred years left itsimperishable mark upon the art of Flanders; at the same timeItalian art was affected by Flemish realism. The painting ofJoost van Cleve, both in portraits and religious subjects, showsvarying degrees of Italian influence. In the later and bestperiod of his work we And the foreign elements better fusedthan in his earlier painting. Our picture belongs to the laterperiod. The tones of the face, the reddish hair, and black hatare rich and harmonious, as are the black of the surcoat, thered doublet, and the patterned grey sleeve. The design bothIn colour and line Is well sustained and the result, though ex-tremely sensitive, has a pervading richness. Oil on panel. 17 inches by 1134 inches 31
Text Appearing After Image:
PORTRAIT OF AN ECCLESIASTICRIDOLFO GHIRLANDAIO .i- RIDOLFO GHIRLAXDAK) Florentine, 1483-1561PORTRAIT OF AN FCCLKSlASIIC This painting of an aged ecclesiastic is a profound and inti-mate revelation of a benignant character, expressed with meansas quiet and simple as though by Raphael himself. The paintimrbears a close resemblance to various portraits b\- Perugino andto certain portrait-like figures in the earh works of Peruginosgreat pupil, Raphael. We know, moreover, that Raphaelthought highly of Ridolfo, caused him to share in the executionof some of his own paintings, and tried to induce him to go toRome as his fellow-worker. In spite of the strength of our picture, the colour and themodelling of the face are very sensitive. The black hat andecclesiastical robes against the light blue-green background areeffective. This is a portrait of power in its delineation of charac-ter, in colour, and in technique. Oil_on panel, 16 inches b\- 12 inches 33

Note About Images