SPANISH PAINTINGS CATALOGUE OF AN EXHIBITION OF FROM EL GRECO TO GOYA NEW YORK FEBRUARY I • 7 TO APRIL I Qpcm-îîÎJii} — COPYRIGHT, 1928, BY THE METROPOLITAN MUSEUM OF ART PRINTED IN THE UNITED STATES OF AMERICA THE MUSEUM DESIRES TO MAKE MOST GRATEFUL ACKNOWLEDGMENT TO THE MUSEUMS AND COLLECTORS WHOSE GENEROSITY AND PUBLIC SPIRIT HAVE MADE POSSIBLE THIS EXHIBITION i V=-^' BBfc. - ; - - rf '~^V'b- ^- ? r^- r ^· ^4 ^ «H " * "•» r^í^ ^ ^ ^ ****^ ♦ f- '^'C ^ "'V" --''Ssc*'''.. < #ív «aÍM - ssS® 2, X>' -' ^ ' 3 « í A r few? L·· > ^' ■* J <\ f ^rt P '■' ' >X ^ i .-' ' '"'"■■■ '" v^'í' * " -*" I-V^'S %- * -^ . '/*«' , ^ -S ÍA.i^i f.'.-'^ \ "'v^-ï- > f ' " - ^ ' * MMr- ^ ^ , ' ' Aw^ t - =^ VV ~ Î ' " \ ^ tr- vv'^Ck ^ ^ ^ ^''k ^ -^ ' í ' ' " ' ^■*'t '-W^ '■» V'* ' "^"'S' ' -'^^*^•*■-19' »- \**"*V¿" V ' ^^ -^'. «.y» J Al u * ^ i ■S'·'^'· ït, it -h ^ -9^ à " _ íA ? "^A st •< r^ -ç. , ti í X^-'4'' r'^'t ^. s-,v V£ic?*í' s-,- '-r 'l·i. -í-" "■- V > >í- í i f -»' o - áS^^SaélA^^^^sSift ' *■" -V ^ s ■í^rVí -ií.^ ** -* * * '§^ív'*A v^"'—í. .vvr.v4 -• \ ^ ^ ií • •> - '' ' . .*- ' ^■^-''<"í?v'^'--"-i- '-^'^'SÉ» iiiAiiiiiinmiiiiiiiHiniiiiiiiXiíiiiiiii. LENDERS ANONYMOUS JULES S. BACHE MRS. EDWIN S. BAYER HUGH BLAKER GEORGE BLUMENTHAL EUGEN BOROSS JOHN NICHOLAS BROWN MRS. CHARLES B. CURTIS THE DETROIT INSTITUTE OF ARTS COLLECTION OF THE LATE MRS. THOMAS J. EMERY ! JACOB EPSTEIN MAX EPSTEIN FOGG ART MUSEUM MICHAEL FRIEDSAM J. HORACE HARDING i EDWARD S. HARKNESS I F. H. HIRSCHLAND DE WITT V. HUTCHINGS ANDREW W. MELLON THE MINNEAPOLIS INSTITUTE OF ARTS J. PIERPONT MORGAN ^ AARON NAUMBURG MRS. CHARLES S. PAYSON DUNCAN PHILLIPS % « MRS. WHITELAW REID RHODE ISLAND SCHOOL OF DESIGN THOMAS FORTUNE RYAN MARTIN A. RYERSON ARTHUR AND ALICE SACHS MORTIMER L. SCHIFF DAVID E. STALTER MRS. EDWARD D. THAYER MRS. WILLIAM R. TIMKEN THE TOLEDO MUSEUM OF ART PAUL M. WARBURG HARRISON WILLIAMS JOHN N. WILLYS WORCESTER ART MUSEUM CONTENTS LIST OF LENDERS INTRODUCTION CATALOGUE OF PAINTINGS INDEX ILLUSTRATIONS I -.7^ •<. "s. ■f^t- - áíV.^^ M iT^ ^ \> ■" 1».-' JSSfï*-- ^- ^ ** -V. .^í i* "ï h \* y-¡ INTRODUCTION Spanish painting as such did not appear until about the year 1600. As late as the middle of the previous century, when Italian art had passed the culmination of its great period after more than two hundred and fifty years of productivity and the painting of the Low Countries had already had a vigorous life of a century and a half, no intimations of a national school were discernible in Spain. True enough, a long time before, mediaeval illuminators there had produced works like the illustrations to the Apoca¬ lypse by Brother Beatus, which learned archaeologists today hold to have been important exemplars for the art of twelfth- century France, but these were cosmopolitan in their charac¬ ter and bear no relation to what followed in Spain. The na¬ tional genius had not taken form. What Spanish painters there were in early times followed foreign fashions, and the effort of the artist died with him. Except in rare instances, transplanted styles are short-lived. When the political union with the Netherlands took place under the Emperor Charles v and his son Philip 11, painters from Belgium and Holland were called to the court. Among these was Sir Anthony More, a Dutchman, who left his mark on the native development. He formed Spanish artists like Alonso Sanchez Coello and Pantoja de la Cruz, and established a style of courtly portraiture of which some as¬ pects persisted; even Velazquez deferred to this style to some extent. But the preponderant influence in the evolution of Spanish painting was Italian. The rapidly changing fashions of Italy during the sixteenth century were followed closely. Raphael and Michelangelo had their Spanish imitators, as had Titian Cxi] THE METROPOLITAN MUSEUM OF ART and the Venetians. Then the Mannerists were copied and also the Eclectic School of Bologna. Finally, the naturalistic movement inaugurated by Caravaggio revealed to the Span¬ iards their own surroundings and the genius of their race; the Spanish school was born. In those years Domenico Theotocopuli, a former pupil of the aged Titian in Venice, had settled in the city of Toledo. He was called El Greco because he was born on the island of Crete, but his art before he Spain was altogether came to Venetian in its characteristics. The spell of Tintoretto, Ve¬ ronese, and the Bassani is over his early pictures ; to what ex¬ tent one can see in the Money-Changers Driven from the Temple, which the Minneapolis Institute of Arts lends to our exhibition—and those who know the Frick Collection will recall the Venetian aspect of the full-length portrait of Vi- centio Anastagi. Both these works were painted in Italy. Toledo, at the time of his arrival, was the most important city of Castile although Philip ii had already made Madrid his capital. No one knows the motives of Greco's emigration from Italy, where, though not yet in his thirties, he was in a fair way to win a high place for himself. Spain then was like our own country today — a land of great opportunities, a goal for artists. His enterprise was successful, commissions a plenty soon came to him. The earliest we hear of was the decoration of a chapel in the Monastery of Santo Domingo el Antiguo at Toledo. One of the pictures painted for this chapel, the great Assumption of the Virgin, is now in the possession of the Art Institute of Chicago; its permanent installation in the place of honor in one of their important galleries prevented its inclusion in our exhibition. A striking change came over El Greco's work while he lived in Spain — mannerisms appeared, and extravagances, strange elongated figures, spectral light, ashen color, deliri¬ ous and visionary conceptions. But his peculiarities were ap¬ preciated. Philip n ordered pictures from him for the Es¬ corial. Though these particular paintings failed to please his n xii ] INTRODUCTION royal patron, there can be no doubt that his art was well in accord with the taste of his adopted countrymen. A master¬ piece of the early time of his fully developed style, Saint Martin and the Beggar in the Widener Collection, the owner was unable to lend us, but of the thirteen pictures by him in our exhibition all except the one mentioned in a pre¬ vious paragraph display the pronounced and most personal characteristics which came to him after he had outgrown his Italian teaching. His portraits alone would win him his place among the great painters and his landscapes are remarkable for their originality of vision when landscape was still largely a mat¬ ter of recipes in Italy and also for their anticipation of the taste of the present time. After a long period of comparative neglect his art has come back into favor recently, and until lately capital works by him were still to be had—a condition which our collectors have been keen to take advantage of. More of his pictures are owned here than of any other of the artists who worked in Spain. Many of his larger compositions exist in the form of sketches or, more properly, preliminary paintings. Strange as it seems before what appears as the astounding spontaneity of his pictures, we find that it was his habit to study care¬ fully beforehand all of their effects and to linger over their execution. Pacheco, the artist and writer, visited Greco in his old age and was shown the room where these preliminary paintings were kept. "Who would believe," writes Pacheco, "that Greco makes sketches for all his pictures and that he labors on them, retouching again and again so as to disjoin and set apart the tints, and to give to his canvases their rough look of a picture just begun, and to simulate freedom of workmanship and greater power? " To us Greco seems to reveal as none other the soul of the superb and melancholy Spain of Philip ii. But his influence on art was short-lived. Perhaps the very singularity of his temperament made it impossible to follow him. One slavish Cxiii3 THE METROPOLITAN MUSEUM OF ART imitator he had in his son Jorge Manuel, and the work of the son has sometimes been mistaken for that of the father. Greco's only pupil of note was Luis Tristan, a picture by whom. The Adoration of the Kings, is shown in our exhi¬ bition. The proved that the naturalism of Caravaggio was event the food that theSpanish genius craved. This style was main¬ ly made known in Spain by one of themselves, Jusepe de Ribera. His native province of Valencia was in close touch with Naples and Rome, and the youthful Ribera, following the custom of Valencian artists, went to Italy for study. He remained there for the rest of his life as it turned out, prac¬ tising his art with great success in Naples, then a dependency of Spain and ruled over by a Spanish viceroy. His style was modeled upon that of Caravaggio, being vigorously realistic and with strong contrasts of light and shade. To one who is occupied with Italian art of the sixteenth and seventeenth centuries. Ribera, Lo Spagnoletto (the little Spaniard), as he was called, appears as a link in the Italian tradition, having based himself on Italians and in his turn forming Italian pupils who carried on his principles, and in his pictures catering to the prevailing Italian taste. Yet in Spain he was the precursor of the National School, by means of his pictures, that is, and his effect there differed entirely from his effect in Italy. Like Caravaggio he painted only from the living model. This practice had a liberating result on an age suppressed by the prestige of the High Renaissance and its mighty accom¬ plishment. The artist who would otherwise have followed timidly the precepts of the commentators on Raphael and Mi¬ chelangelo discovered new possibilities in copying as closely as he could the people of his own neighborhood who posed for him. The homely qualities of his country, the spirit and the flavor of his race, by this means entered into what he did. Beauty to the Italian Renaissance meant nature purified, or¬ dered, ennobled; beauty to some other nations and times CxivJ INTRODUCTION could be found in whatever existed, in all experiences and emotions, in ugliness and brutality even. Not only the entire Spanish school, in the seventeenth century, but much of what was most vigorous in painting throughout Europe at that time can he traced back to Caravaggio's revolution. Ribera's chief technical aim was the expression of weight, solidity, and the texture of surfaces. With the zeal of a prop¬ agandist who had taken his stand as an opponent of ideality and prettiness, he often chose forbidding subjects — martyr¬ doms and tortures and deeply wrinkled decrepitudes. Such pictures have never found favor in America and those by him in our exhibition are of the sort which could be loosely classed as portraits; they show, however, his most powerful draughtsmanship and his fine though sombre color. W. F. Cook's Head of a Priest of Bacchus is, according to the the¬ ory of Dr. Mayer, one of the three existing fragments of a renowned work — The Triumph of Bacchus, painted at the order of Philip iv and hurnt in the Royal Palace fire in the eighteenth century. A fine work by Ribera, a half-figure of Saint Paul, can be seen at the Hispanic Society. Seville, the chief market of the New World trade, profit¬ ed more than any other city by the conquests and coloniza¬ tions in the sixteenth century, and though its importance and wealth had greatly diminished in the disasters and general ruin which had already overtaken Spain by the end of the century, it was still a center of culture. Seville like the rest of the Peninsula had in its artistic efforts followed the course of the Italian development. In the early seventeenth century several artists were outstanding — Pacheco, classical, ideal¬ istic, pedantic, the painter and writer whom we have quoted regarding a visit to El Greco; Roelas, who had founded him¬ self on the study of the Venetians; and, after the appearance in Seville of some pictures by Ribera, Herrera the Elder, a ferocious advocate of realism. In this city and formed under the influence of such teachers appeared within fifty years the greatest and most characteristic Spanish masters—Zurbaran, Cxv] THE METROPOLITAN MUSEUM OF ART Velazquez, Alonso Cano, Murillo, and Valdes Leal—all closely related in spiritual aims and in technical processes. The sombre pictures of Zurbaran reflect better than any others the robust faith and the grave manners of the Spain of his time. From his teacher Roelas he adopted some of the methods of the Venetians but he uncompromisingly real¬ was istic, being called indeed the Spanish Caravaggio. His fig¬ ures, always in the quiet attitudes which his models could hold, are engrossed in deep meditation or religious ecstasy. The expression and vitality of his heads are remarkable. He is known in American collections chiefly as the painter of single figures of female saints — portraits in reality of Span¬ ish ladies with fantastic cloaks and mantles, improvised out of studio draperies pinned over their every-day costumes. Our exhibition happens to contain none of these but includes two pictures by him which are frankly portraits, as well as two of his religious pieces, one of which, the Flight into Egypt, is lent by the Toledo Museum of Art. Two fine examples of his work, belonging to this Museum, are shown in Gallery C 29, The Young Virgin, painted about 1638, and a monu¬ mental decoration. The Battle with the Moors, one of six compositions painted for the Monastery at Xeres de la Fron¬ tera-Jerez near Cadiz. The first teacher of Velazquez was Herrera, a picture by whom. The Cripple, is lent to us by the Worcester Art Mu¬ seum. The early pictures by Velazquez show their close deri¬ vation from this artist. Indeed all the young painters at Se¬ ville derive from Herrera, no matter who their particular masters happened to be. His was the ascendant style. Herrera was a man of quick temper and after some quarrel Velazquez betook himself to the studio of Pacheco. All the circum¬ stances of his career were fortunate; Pacheco, although but a mediocre painter, proved to be one of those rare teachers who have the discernment and the disinterestedness to en¬ courage their pupils in styles contrary to the ones they them¬ selves practise. He also became the young artist's admirer and CxviJ INTRODUCTION friend and later his father-in-law. Without any deviation Velazquez followed the course which was best fitted to de¬ velop all his possibilities. His genius was not precocious but at a very early age he became a most competent painter of genre subjects — studies from the posed model and from still-life. The Saint Mat¬ thew, lent by Mr. Blaker, represents his early style. At about the age of twenty-four, by Pacheco's influence and efforts, he was presented to Philip iv at Madrid, painted his portrait successfully, and was named court painter, a position he held for the rest of his life. The pictures executed during his first years at Madrid, like the Man with the Wine Glass belong¬ ing to the Toledo Museum, in our exhibition, the Philip iv which can be seen in the Altman Collection, and the Duke of Olivares at the Hispanic Society, show but little deviation from the style of his works painted at Seville. They are all masterly paintings and the promise of his supremacy is con¬ tained in them but they lack the particular quality which his later works display in a degree of perfection which has never been equaled — the quality, namely, which the painters call values, the interrelation in light and aerial perspective of all the parts of the picture, in other words, the giving to the ob¬ jects in the picture the appearance of being at the same rela¬ tive distance from the spectator which these objects had in reality from the artist. This quality was by no means the dis¬ covery of Velazquez; it made an astounding entry into paint¬ ing when artists first became realistic in the Netherlands more than two hundred years before his time, and painters of Holland, his contemporaries, following their national tra¬ dition, are his most serious rivals in its accomplishment. The possibilities of the painting of space and air came to him as he worked at Madrid and his powers grew steadily. The portrait of Isabella of Bourbon, lent to our exhibition by Max Epstein, represents the early stage of his transitional period. It is considered to be the original work entirely by Velazquez, a replica of which, due in parts to other hands. Í xvii 3 THE METROPOLITAN MUSEUM OF ART is in the Vienna Museum. The replica was sent from Madrid to the court of Vienna, it is known, in 1632 and Mr. Ep¬ stein's picture would be only slightly earlier. Another im¬ portant picture from this time is in America — the portrait of the little prince, Baltasar Carlos, with a dwarf, belong¬ ing to the Museum of Fine Arts, Boston, but that picture it was impossible to include in this present exhibition. The Bos¬ ton painting displays clearly the artist's growing appreciation of aerial perspective. Mr. Bache's Self-Portrait would date from some years later. Dr. Mayer considers this beautiful work to be a study for the self-portrait which is in the fa¬ mous "Lances," as the Surrender of Breda, painted in 1647, has been nicknamed. The Emery Philip iv would take its place at about 1650 or 1655, as Philip, born in 1605, appears in it at about the age of forty-five or fifty, and Mr. Willys' Head of a Girl is judged to be from the artist's late years. Mr. Morgan's Maria Teresa is in all likelihood a picture sent to the French court when the marriage of Louis xiv to that princess was under discussion. Several authorities do not consider this work to be by Velazquez but attribute it to the hand of his son-in-law, del Mazo, whose copies of Velaz¬ quez have for centuries baffled the wits of the connoisseurs. The pictures Velazquez painted after he became court painter have remained, with the exception of portraits sent as gifts to foreign potentates and of some studies which never entered the royal collection, the property of the Spanish Crown. His developed style can be studied only in the Prado and nowhere else can one form a conception of his full ac¬ complishment. America is fortunate in having gathered so many examples. Outside of those we show here and the others mentioned in these paragraphs, there are three or four others —a head in the Hispanic Society, a masterly Philip iv in the Frick Collection, a portrait of his early Madrid period be¬ longing to Mr. Van Home at Montreal, and the head of Mariana of Austria which Mr. Bingham lent to this Mu¬ seum a year or so ago. Í xviii 3 INTRODUCTION Practically speaking, Velazquez confined himself to por¬ traits— of people, of animals, of places — and within these limits, more than any other he deserves to be called the per¬ fect painter. He shows no imagination, no emotion, no great intellectual power in his works, only good sense and wonder¬ ful eyesight and marvelous skill of hand. His pictures leave us uninformed of any of his preferences even; he is surely the most impersonal of great artists. An unusually stupid, wooden-faced royal family, their dwarfs and buffoons, chance models who might represent mythological or histori¬ cal characters, these were the subject matters of his pictures. With perfect economy of pigment and brush strokes, with¬ out any evidence of effort or worry or haste, the appearances of these people are set upon the canvas, where they seem to live and breathe. Mengs, the first painter of the classical re¬ vival in the eighteenth century, who would not be pre¬ disposed, one would say, to judge realistic art kindly, has summed up definitively the critical judgment on this painter. Speaking of his masterpiece. The Tapestry Workers, he said that it seemed to be painted by will only, without aid of hand. Alonso Cano, sculptor and architect as well as painter, studied in Seville and was subject to the same influences as the young Velazquez and Zurbaran. His early pictures have marked likeness to the work of these painters, but later he approached the Italian spirit in his ideal and sentimental point of view and his altarpieces have a kinship with the re¬ ligious pictures of the Carracci. The Holy Family with Angels, lent by Mr. Ryan, is the only work by him in our exhibition but another of his pictures, more closely in the Seville tradition, the Christ Blessing Children, belongs to the Museum and can be seen in Gallery 29. The primacy in celebrity among Spanish artists now ac¬ corded to Velazquez was formerly held by Murillo. From the time of the Napoleonic wars, when his pictures were dispersed, up to the time of Manet and the Impressionists, all Europe considered Murillo the greatest of the Spaniards. Cxix] THE METROPOLITAN MUSEUM OF ART His art was in accord with the taste of the mystical and de¬ vout people of his provincial neighborhood. It is only natural that his Immaculate Conceptions, his Miracles, Ecstasies, Vi¬ sions with their yearning and rapturous expressions, and his somewhat comic opera street-children should be judged mawkish and sentimental in a materialistic age. But with all these shortcomings he had great artistic gifts and it is our contention that the fact is proved by his works in this exhi¬ bition, which comprise practically all his best to be found in America. The noble canvas of the Young Saint Thomas of Villanueva distributing his garments, from the Emery Col¬ lection, lately bequeathed to the Cincinnati Museum, painted for the Convent of Saint Augustin in Seville, has been pro¬ nounced by Dr. Mayer to be the most beautiful genre picture he ever painted. Saint Diego of Alcala surprised by his Su¬ perior is one of the series painted for the Franciscan Monas¬ tery of Seville and one of its companion pictures is the fa¬ mous "Cuisine des Anges" of the Louvre. These were the paintings which made his reputation, "over-night" one might say, when as a young man of twenty-eight he undertook this important commission on his return to Seville after a short visit to Madrid. Saint Diego surprised by his Superior be¬ longed to the eminent connoisseur, the late Charles B. Cur¬ tis, whose book on Velazquez and Murillo was the first scholarly attempt of modern times to treat of these masters. The picture is lent by Mrs. Charles B. Curtis and with the exception of its exhibition in this Museum in 1887-88, it has been never publicly shown in modern times. It is remarkable for its reality of characterization and for its solidity of work¬ manship, having passages which recall the realism of Zur- baran and the young Velazquez. The Immaculate Concep¬ tion lent by Mr. Hutchings, one of Murillo's many render¬ ings of this favorite subject, shows admirably the qualities for which he was famous in the last century. Mr. Boross' silvery, poetic little landscape with Jacob and Rachel gives a glimpse of his powers in this branch. ITxxJ INTRODUCTION The portrait of Andrade, alate purchase by this Museum, now shown here for the first time, like other portraits by him is free of any sentimentality. The painter's admiration for Velazquez and Van Dyck is evident in our picture. For a hundred years and more it has been considered for one rea¬ son or another as the best of his portraits. "The eyes seem to look at you," said a then eminent painter in 1828. Today, no doubt because of the tendency of mankind to apply their present idiosyncracies to the monuments of former ages, we are inclined to fancy on the artist's part an amused and sly ap¬ preciation of Andrade's self-complacency—his walk would be a strut, we feel, and we wonder what lotion in great quantities he must have used to make his hair so fuzzy. But the real vitality of the portrait remains the foundation for the various interpretations each epoch may give to it. With Valdes Leal, twelve years younger than Murillo, no work by whom we have been able to find here, the cycle of the great painters of Seville closes, nor did painting at the capital long survive. The pupils of Velazquez — del Mazo, Pareja, and the others — carried on the methods of that master after his death. Carreño de Miranda painted portraits of Charles 11 and of his mother. Doña Mariana of Austria, in her widow's weeds—the queen who in her young days had so often sat to Velazquez. Claudio Coello was the last of the great epoch. In 1692 Charles 11 summoned from Italy Luca Giordano and the young artists abandoned the sober and real¬ istic style natural to their country for the brilliancies and facilities of the Italian decadence. Giordano could imitate any one. He had imitated Ribera, whom he had known in Naples, so successfully that his imi¬ tations still pass for originals in some places. In Spain he amused himself by making at least one counterfeit of the great Spaniard. The Betrothal in the National Gallery of London, long a stumbling-block for amateurs, is now, it is pretty generally agreed, an imitation of Velazquez by Gior¬ dano and not by Velazquez himself. Giordano's natural style Cxxi] THE METROPOLITAN MUSEUM OF ART is that which he developed from his master, Pietro da Cor- tona, an example of which is to be seen in our Gallery 30 — florid, glittering, theatrical. Such were the paintings he executed in the Escorial. The house of Austria became extinct in 1700. With the Bourbons (Philip y was French by birth and taste) the French style was introduced. Spanish art was in a state of coma and remained so up to the appearance of Goya. Spain returned to the pre-seventeenth-century conditions; artists from abroad were imported to carry out the principal com¬ missions. Tiepolo, the last of the great Venetians, was called by Charles m to decorate the Madrid royal palace, and after Tiepolo's death in that city in 1770 the theoretical and pe¬ dantic apostle of the newly appeared classicism, the Bohemi¬ an Raphael Mengs, was summoned to take charge of artistic affairs. It was through Mengs that Francisco Goya received his first royal commissions, cartoons for tapestries which Charles m directed should deal with the daily life of Spain and not with the mythological and allegorical themes which up to that period had been the rule. Unexpected as Goya's appearance seems among the listless Spanish imitators of foreign fashions in the latter half of the eighteenth century, the genesis of his style is clearly trace¬ able. The tapestry cartoons are Spanish interpretations of the contemporaneous art of France with its accepted recipes for compositions, figures, landscapes, and animals, although here and there the realistic and ironical spirit of the painter in¬ trudes itself into his designs. But the main influence in formation comes from Goya's Tiepolo. The every-day subject makes its appearance in some of Tiepolo's pictures as it does in Longhi's. The wish of Charles m that such subjects be drawn upon for his tapestries was not a capricious whim but was quite in accord with the changing taste. The Venetian influence in England, another backward country artistically, produced in Hogarth a painter analogous in many respects to Goya, the result of the Venetian influence in Spain. A Í xxii n INTRODUCTION spirit of examination and of scepticism was abroad in all Europe as the ancient institutions were dissolving. Goya was the best fitted in all ways to be the apostle of the new movement in art and his is the work which bridges the old style and the modern. All his experiences and emo¬ tions seem to record themselves as though automatically in what he painted and etched — his hatred of the Inquisition and the Church; his contempt of the decaying ruling classes with their pretensions and affectations; his disgust at the stu¬ pidity of war. But strength, beauty—of women particularly —bravery, the time-old occupations and pastimes he cele¬ bratesenthusiastically: his loves as well as his hatreds are all superlative in degree. No more marked contrast to the re¬ served and prudent Velazquez can be found in all art than thisimpetuous and boisterous Goya. With the exception of Arthur and Alice Sachs's Bull Fight and Mr. Ryerson's series of six little panels illustrating the history of the Capture of a Brigand by a Monk, all of Goya's pictures in our exhibition are portraits. None of his portraits of ironical effect are included, such as that mon¬ strous arraignment of the Family of Charles iv in the Prado, although a masterly sketch for one of its figures, Maria Luisa of Parma holding her baby, is on view in Gallery 29. In our exhibition we can see with what enthusiasm he responds to the human qualities he admired. The Spanish nobility were eager to sit to him. Several portraits of nobles are shown here as well as a number of those he painted, not as commissions, but of friends and acquaintances whose per¬ sonalities interested him. He was a prodigious worker, often finishing a portrait in one sitting, but a sitting to him was apt to last all day long. He had no mercy on his models and his own energy was tireless. Those who seek figure compositions by Goya other than those lent to us by Mr. and Mrs. Sachs and by Mr. Ryer- son, which are mentioned above, will find at the Hispanic Society a sketch for his Third of May in the Prado — the CxxiiiH THE METROPOLITAN MUSEUM OF ART most horrible picture in the world! This Museum owns a Bull Fight, shown in Gallery 29. Besides these there are several works of the sort owned in America which could not be borrowed for our occasion. For the fantastical and purely imaginative and satirical aspects of his art one must consult his etchings and lithographs, which can be seen in our Department of Prints. In them this astonishing artist can be most conveniently seen as the forerunner of both the romantic and the realistic movement of the last century — as the ancestor of Géricault, Delacroix, Courbet, Daumier, and of Edouard Manet, who remains after all his most at¬ tentive follower. John Sargent, whose memorial exhibition washeld in this same gallery two years ago, was also one of Goya's artistic descendants. Thus the work of Goya brings us into direct touch with modern art. His career is the limit of the scope of our exhibition. BRYSON BURROUGHS. C xxiv J CATALOGUE The fictures are arranged alphabetically by artist and title; the dates when known are given exactly or approximately. Except when otherwise noted, all are painted in oil on can¬ vas and are illustrated. SLIongio Cano Born 1601 at Granada; died there 1667. Pupil of Pacheco and Castillo. 1 HOLY FAMILY WITH ANGELS H. 47/^; w. 39% inches. Lent by Thomas Fortune Ryan. iFtancí0co CollantciS Born 1599 at Madrid; died there 1656. Historical and re¬ ligious subjects with landscape backgrounds. 2 HAGAR AND ISHMAEL H. 43^4; to. 55% inches. Signed: Franco Collantes f. Lent by the Rhode Island School of Design. jFrancí0co logsé ïio (Boga g %ütímtt0 Born 1746 at Fuente de Todos; died in 1828 at Bordeaux, France. Court painter to Charles ill and iv. Portraits and fantastic subjects. Also an important etcher. 3 THE YOUNG DUKE OF ALBA About H. 35%; w. 27% inches. Lent by Mrs. Edwin S. Bayer. Cl] THE METROPOLITAN MUSEUM OF ART 4 ARAGONESE DWARF H. 33 ; w. 24^ inches. Lent by the Fogg Art Museum. 5 THE ARTIST ASENSI H. 21%; w. 16% inches. Inscribed: Goya a su / Amigo A sensi. Lent by A rthur and A lice Sachs. 6 BULL FIGHT H. 29; w. 43/4 inches. Lent by Arthur and Alice Sachs. 7-12 THE CAPTURE OF THE BRIGAND MARGAROTO BY THE MONK PEDRO DE ZALDIVIA About 1806 Six fanels; h. 11%; w. 15^4 inches each. THE ENCOUNTER THE MONK SNATCHES THE GUN OF THE BRIGAND THE STRUGGLE OVER THE WEAPON THE VICTORIOUS MONK THREATENS THE BRIGAND THE SHOOTING OF THE BRIGAND THE BINDING OF THE BRIGAND Lent by Martin A. Ryerson. 13 DOÑA FRANCISCA VICENTA CHOLLET Y CAVALLERO 1806 H. 39; w. 32 inches. Inscribed: D°- FranC" Vicenta Choi- let y / Cavallero For Goya año 1806. Lent by Harrison Williams. [2] SPANISH PAINTINGS 14 DON FRAY MIGUEL FERNANDEZ 1815 H. 38; w. 33 inches. Inscribed: El Illmo Señor Z)" Fr. Miguel Fernandez, O bis fa de M arco folis. Administrador Afostolico de Quito. Pt Goya año 1815. Lent by the Worcester Art Museum. 15 GENERAL NICHOLAS GUYE K. 42; vj. 33/4 inches. Lent by J. Horace Harding. 16 VICTOR GUYE H. 42/4; w. 34 inches. Lent by J. Horace Harding. 17 DON ANTONIO RAIMUNDO IBAÑEZ About 1808 H. 38^; w. 28/4 inches. Lent by Jacob Ffstein. 18 PEPE ILLO About 1783-1789 H. 25 ; w. 19/4 inches. Lent by Mrs. Charles S. Pay son. 19 DON MANUEL OSORIO DE ZUÑIGA I784 Zf. 50% ; w. 37% inches. Signed: D'"-Franco Goya. Inscribed: ELS.'DMANV'EL OSORiO RWRRiCNT H ZVÑÍGA S.'HGÍ1VES NACÍO ENÀ.AIIE117M Lent by Jules S. Bache. 20 PACHECO, DUKE OF OSUNA About I79O H. 44% ; w. 33 inches. Inscribed: Fl Duque de / Osuna Por Goya. Lent by J. Pierfont Morgan. 21 PORTRAIT OF A LADY About I787 H. 40%; iu. 29% inches. Lent by Mrs. William R. Limken. THE METROPOLITAN MUSEUM OF ART -f 22 TADEO BRAVO DE RIVERO 1806 H. 81w. 49/4 inches. Inscribed: D" Tadeo Bravo de / Rivera, for su am" Goya / 1806. Lent by Michael Friedsam. 23 PEDRO ROMERO About 1795-1800 H. 33; w. 2 5/4 inches. Lent by Arthur and Alice Sachs. 24 DON BERNARDO YRIARTE ^797 ^ H. 42/4; w. 33/4 inches. Inscribed: D" Bernardo Yriarte, Vice frot^ de la Academia de las / txes nobles Axtes, re- txatado Goya entestimonio de mul tua estimac''^ for y afecto año de 1797. Lent by Edward S. Harkness. (CI (Kreco, wal name SDomenico 'Efieotocopuli Born about 1548 at Candia, Crete; died 1614 at Toledo. Influenced by Titian, Tintoretto, and the Bassani. Settled in Toledo shortly before 1577. 25 THE ADORATION OF THE SHEPHERDS H. 43^ ; w. 25^ inches. About 1594-1604 Lent by George Blumenthal. 26 THE AGONY IN THE GARDEN H. 40/4; w. 45 H inches. Lent by Arthur and Alice Sachs. 27 THE APPARITION OF THE VIRGIN TO SAINT DOMINIC About 1597-1603 H. 39; w. 23% inches. Lent by J. Horace Harding. 1:4] SPANISH PAINTINGS 28 CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE About 157I-1576 H. 46; w. 57% inches. Lent by the Minneafolis Institute of Arts. 29 CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE H. 17 ; w. 21 inches. Lent by Aaron Naumburg. 30 SAINT DOMINIC H. 26; w. 23 inches. Signed in Greek. Lent by John Nicholas Brown. 31 SAINT ILDEFONSO OF TOLEDO About 1605 H. 44M ; 25^ inches. Signed in Greek. It). Lent by Andrew W. Mellon. 32 SAINT JAMES THE LESS (?) yíèoííí I599-1606 H. 14^4 ; w. 10 fi inches. Lent by George Blumenthal. 33 SAINT PAUL About 1598-1600 H. Z1Y2 ; w. 23% inches. Signed in Greek. Lent by J. Horace Harding. 34 SAINT PHILIP About 1599-1606 H. 14/4; w. lofi inches. Lent by George Blumenthal. 35 PORTRAIT OF A MAN H. 20^; w. 18 inches. Lent by Michael Friedsam. ts] THE METROPOLITAN MUSEUM OF ART 36 PORTRAIT OF A MAN H. 15/4; w. 11 /4 inches. Lent by F. H. Hirschland. 37 THE REPENTANT PETER About 1598-1602 H. 37; w. 29M inches. Lent by Duncan Phillifs. Jtancígíco ûe ï^emta, (Clúer Born 1576 at Seville; died 1656 at Madrid. Influenced hj Ribera; the first teacher of Velazquez. 38 THE CRIPPLE H. 29; IV. 23% inches. Lent by the Worcester Art Museum. iSablo Eeffote Born in the early seventeenth century at Seville; died after 1662 at Cadiz. Pupil of Roëlas. 39 THE MARTYRDOM OF SAINT STEPH'EN H. 04/4; w. 46% inches. Lent by Eugen Boross. 3Iuan Bautista Slpartim? dil Sî^ajo Born about 1Ó10 at Madrid; died there 1687. Pupil and son-in-law of Velazquez. 40 KNIGHT OF THE ORDER OF MONTESA ^ (OR ALCANTARA) H. 33; w. 24^ inches. Lent by Eugen Boross. SPANISH PAINTINGS 41 THE INFANTA MARGARITA H. 29/4; w. 24 inches. Lent by Mortimer L> Schiff. Battolomé CC0té!ban Sí^uríUo Born 1618 at Seville; died there 1682. Pupil of Juan de Castillo. Influenced by Velazquez and Van Dyck. Religious and genre subjects, portraits. 42 DON ANDRES DE ANDRADE Y COL 165O-1660 H. 79; w. 47 inches. Inscribed: Z)" Andres de Andrade y la Col. The Metrofolitan Museum of Art. 43 SAINT DIEGO OF ALCALA About 1646 H. 92^4; w. 77% inches. Lent by Mrs. Charles B. Curtis. 44 HEAD OF CHRIST H. 23%; tu. 19 inches. Lent by Eugen Boross. 45 THE IMMACULATE CONCEPTION, WITH A MIRROR h. 77; iv. 58% inches. Lent by DeWitt V. Hutchings. 46 LANDSCAPE WITH JACOB AND RACHEL H. 19% ; w. 29% inches. Lent by Eugen Boross. 47 SANTA ROSA DI VITERBO H. 32%; iv. 25 inches. Lent by Mrs. Edward D. Thayer. 1:73 J THE METROPOLITAN MUSEUM OF ART 48 THE YOUNG SAINT THOMAS OF VILLANUEVA H. 75; w. 57 inches. About 1676 Collection of the late Mrs. Thomas J. Emery. Juan Pantoia he la Ctuj Born in 1551 at Madrid; died there after 1609. Court painter for Philip 11 and III. 49 PORTRAIT OF A LADY H. 25 ; w. 22 inches. Lent anonymously. ûe ÎSlibera, calleíi Eo è>pa0:n0lctto Born 1588 at Jativa, Valencia; died 1652 at Naples, Italy. Influenced by Caravaggio. 50 THE ASTRONOMER 1638 U. 31 ; lu. 38J4 inches. Signed: Jusefe de Ribera F / 1638. Lent by the Worcester Art Museum. 51 SAINT JEROME 164O R. 50; IV. 39^^ inches. Signed: Jusefe de Ribero esjañel F. / 1640. Lent by the Fogg Art Museum. 52 THE PHILOSOPHER H. 44; tv. 34 inches. Lent by David F. Stalter. 53 PORTRAIT OF A MAN H. 2oH ; w. 25M inches. Lent by Arthur and Alice Sachs. 54 PORTRAIT OF A MUSICIAN 1638 H. 25; w. 31 inches. Signed: Jusefe de Ribera / F. 1638. Lent by the Toledo Museum of Art. w SPANISH PAINTINGS 55 PORTRAIT OF AN OLD MAN H. 38%; w. 28^ inches. Lent by Paul M. Warburg. ê>pagnoIitto. see Kibcra, Iluíípt bt SDommico 'íltíicotocopulí, see (Kwco, (EI EUÍ0 'ÍErísítan Born 1586 nearToledo; died there 1640. Pupil of El Greco. 56 THE ADORATION OF THE MAGI 1020 H. 45/2; w. 91/4 inches. Signed: LyrsTrista. F 1620. Lent by Eugen Boross. SDicgo B-obngut? bt feilfaa g I^ílajqut? Born 1599 at Seville; died 1660 at Madrid. Pupil of Pler- rera and Pacheco. Court painter to Philip iv. 57 ISABELLA OF BOURBON About 163I H. 49^ ; w. 40 inches. Lent by Max Efstein. 58 THE MAN WITH THE WINE GLASS About 1623 H. 30^ ; w. 25 inches. Lent by the Eoledo Museum of Art. 59 THE INFANTA MARIA TERESA H. 58%; w. 40/4 inches. Lent by J. Pier font Morgan. 60 SAINT MATTHEW Before 1623 H. 30; w. 25 inches. Inscribed: S. MArTH.£FS. Lent by Hugh Blaker. ^93 THE METROPOLITAN MUSEUM OF ART 61 PHILIP About IV 1650-1655 H. 24 ; w. 20 inches. Collection of the late Mrs. Thomas J. Emery. 62 PORTRAIT OF A GIRL H. 25/4; 22% inches. w. Lent by John N. Willys. 63 SELF-PORTRAIT About 1634 H. 2"] \ w. 21Y2 inches. Lent by Jules S. Bache. JFcanci^co iit Zurliaran Born 1598 at Fuente de Cantos; died 1662 at Madrid. In¬ fluenced by Ribera. Religious subjects and portraits. 64 CHRIST AT GETHSEMANE H. 62%; uu. 45 inches. Lent by Eugen Boross. 65 THE DAUGHTERS OF THE ARTIST JUAN DE ROELAS H. 55%; '^· 3^^ inches. Not illustrated. Lent by Mrs. Whitelaiv Reid. 66 THE FLIGHT INTO EGYPT H. 75 ; w. 97 inches. Lent by the Toledo Museum of Art. 67 PORTRAIT OF A GIRL /Í1635-164O H. 33%; 22% inches. w. Lent by the Detroit Institute of Arts. Cio] INDEX title number Adoration of the Magi, The, by Tristan 5^ Adoration of the Shefherds. The, by Greco 25 Agony in the Garden, The, by Greco 26 Alba, The Young Duke of, by Goya 3 Andrade y Col, Don Andres de, by Murillo \1 Afparition of the Virgin to Saint Dominic, by Greco 27 Aragonese Dwarf, by Goya 4 Asensi, The Artist, by Goya 5 Astronomer, The, by Ribera 50 Bull Fight, by Goya 6 C apture of the Brigand Mar gar oto by the Monk Pedro de Zaldivia, by Goya 7-12 Chollet y Cavaller o, D aña Francisca Vicenta,by Goya 13 Christ at Gethsemane, by Zurbaran 64 Christ Driving the Money-Changers from the Tem¬ ple, by Greco 28, 29 Cripple, The, by Herrera 3^ Daughters of the Artist Juan de Roelas, The, by Zur¬ baran 65 Diego of Alcala, Saint, by Murillo 43 Dominic, Saint, by Greco 3® Fernande-z,, Don Fray Miguel, by Goya 14 Flight into Egypt, The, by Zurbaran 66 Guye, General Nicholas, by Goya 15 Guye, Victor, by Goya 16 H agar and Ishmael, by Collantes 2 Head of Christ, by Murillo 44 Holy Family with Angels, by Cano I Ihañe%, Don Antonio Raimundo, by Goya 17 [II] THE METROPOLITAN MUSEUM OF ART TITLE NUMBER Ildefonso of Toledo, Saint, by Greco 3' Illo, Pefe, by Goya 18 Immaculate Conceftion, with a Mirror, The, by Murillo 45 Isabella of Bourbon, by Velazquez 57 James the Less (?), Saint, by Greco "¡2 Jerome, Saint, by Ribera 5^ Knight of the Order of Montesa, by Mazo 40 Landscafe with Jacob and Rachel, by Murillo 46 Man with the Wine Glass, The, by Velazquez 58 Margarita, The Infanta, by Mazo 41 Maria Teresa, The Infanta, by Velazquez 59 Martyrdom of Saint Stephen, The, by Legóte 39 Matthew, Saint, by Velazquez 60 Osorio de Zuñiga, Don Manuel, by Goya 19 Osuna, Pacheco, Duke of, by Goya 20 Paul, Saint, by Greco 33 Philip, Saint, by Greco 34 Philip IV, by Velazquez 61 Philosopher, The, by Ribera 52 Portrait of a Girl, by Velazquez 62 Portrait of a Girl, by Zurbaran 67 Portrait of a Lady, by Goya 21 Portrait of a Lady, by Pantoja 49 Portrait of a Man, by Greco 35» 3^ Portrait of a Man, by Ribera 53 Portrait of a Musician, by Ribera 54 Portrait of an Old Man, by Ribera 55 Repentant Peter, The, by Greco 37 Rivero, Tadeo Bravo de, by Goya 22 Romero, Pedro, by Goya 23 Rosa di Viterbo, Santa, by Murillo 47 Self-Portrait, by Velazquez 63 Thomas of Villanueva, The Young Saint, by Murillo 48 Yriarte, Don Bernardo, by Goya 24 [12] ILLUSTRATIONS 2 HAGAR AND ISHMAEL, BY COLLANTES 3 THE YOUNG DUKE OF ALBA, BY GOYA •f* i P 4 ARAGONESE DWARF, BY GOYA I THE CAPTURE OF THE BRIGAND MARGAROTO, BY GOYA 9 10 THE STRUGGLE THE MONK THREATENS THE BRIGAND t 13 DOÑA FRANCISCA VICENTA CHOLLET Y CAVALLERO BY GOYA 17 DON ANTONIO RAIMUNDO IBAÑEZ, BY GOYA 1 19 DON MANUEL OSORIO DE ZUÑIGA, BY GOYA 20 PACHECO, DUKE OF OSUNA, BY GOYA 21 PORTRAIT OF A LADY, BY GOYA 22 TADEO BRAVO DE RIVERO, BY GOYA ) 2.3 PEDRO ROMERO, BY GOYA « 29 f CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE, BY GRECO 30 SAINT DOMINIC, BY GRECO 31 SAINT ILDEFONSO OF TOLEDO, BY GRECO 32 SAINT JAMES THE LESS (?), BY GRECO 34 SAINT PHILIP, BY GRECO 35 PORTRAIT OF A MAN, BY GRECO It I 36 PORTRAIT OF A MAN, BY GRECO 37 THE REPENTANT PETER, BY GRECO 38 THE CRIPPLE, BY HERRERA I 41 THE INFANTA MARGARITA, BY MAZO 52 THE PHILOSOPHER, BY RIBERA , ,k 54 PORTRAIT OF A MUSICIAN, BY RIBERA m i I M. i ilii IÈMÉ^Ê is ümN;¡t^eoiyr.,;a) 4.)i»víM*jt·>';« ¿k ,. 5ͧ®;i¡|0'ífJÉ:^