Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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ne study of grouping similar to the others is hisPeasants Chalking Up the Score, seated about anInn table, No. 1073. ^ beautiful clear picture ofarmour is seen in his Page in a Guard-room, No.1078, back in the eighteenth cabinet. Some ofTenierss smaller and less finished pictures areknown as after-dinner pieces, because they werebegun and completed during an afternoon. Consid-ering his marvellous attention to detail, Teniersworked rapidly. In his youth and in his age Tenierss art wasnot so satisfying as during his middle period. Ithas been said that his career, like the fishes that heso often painted, was better in the middle than ateither end! The Alchemist, No. 1072, is especially fine indetail. It is an interesting study into the lore andsuperstition which were so strangely combined inold times. Here we see the philosopher at work,with his bellows, surrounded by his tools, pestlesand mortars, retorts, bottles, and jars; the stilllife is admirable, and the opportunity of the subject
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IRetberlanMsb an5 (Berman Hrtists 253 almost unlimited. The structure of the furnace atwhich the alchemist is working is like that of thekitchen ovens in many old. Dutch and Germanhouses that are still shown. Twice in the Dresden gallery St. Anthony isseen catching it, — once in a spacious cave, andonce in an old ruin. In both he is surrounded bythe absurd little grotesques by which the Teutonshave so often represented temptations: frogs, sit-ting on their ridiculous hind legs and holding uptheir hands in some sort of incantation or expostu-lation ; silly long-nosed pipers and a vortex of bats.In No. 1079 a pretty woman neatly clad in Puri-tanic style holds out a cup of wine in a disinterestedway to the saint who is so beset. No. 1075 is a portrait of the master himself seatedby a cask. It is interesting to know that this isDavid Tenierss own impression of himself in 1646,which is the date of the painting. There are three of Tenierss famous VillageFetes in Dresden: the larger ones,

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