There is not a great deal known about Morales (1509?-1586), called "the Divine," except that he was allied to the Castilian school, and painted devotional heads of Christ with the crown of thorns, and many afflicted and weeping madonnas. There was Florentine drawing in his work, great regard for finish, and something of Correggio's softness in shadows pitched in a browner key. His sentiment was rather exaggerated. Sanchez-Coello (1513?-1590) was painter and courtier to Philip II., and achieved reputation as a portrait-painter, though also doing some altar-pieces. It is doubtful whether he ever studied in Italy, but in Spain he was for a time with Antonio Moro, and probably learned from him something of rich costumes, ermines, embroideries, and jewels, for which his portraits were remarkable. Navarette (1526?-1579), called "El Mudo" (the dumb one), certainly was in Italy for something like twenty years, and was there a disciple of t.i.tian, from whom he doubtless learned much of color and the free flow of draperies. He was one of the best of the middle-period painters.

Theotocopuli (1548?-1625), called "El Greco" (the Greek), was another Venetian-influenced painter, with enough Spanish originality about him to make most of his pictures striking in color and drawing. Tristan (1586-1640) was his best follower.

[Ill.u.s.tration: FIG. 71.--RIBERA. ST. AGNES. DRESDEN.]

Velasquez (1599-1660) is the greatest name in the history of Spanish painting. With him Spanish art took upon itself a decidedly naturalistic and national stamp. Before his time Italy had been freely imitated; but though Velasquez himself was in Italy for quite a long time, and intimately acquainted with great Italian art, he never seemed to have been led away from his own individual way of seeing and doing. He was a pupil of Herrera, afterward with Pacheco, and learned much from Ribera and Tristan, but more from a direct study of nature than from all the others. He was in a broad sense a realist--a man who recorded the material and the actual without emendation or transposition. He has never been surpa.s.sed in giving the solidity and substance of form and the placing of objects in atmosphere. And this, not in a small, finical way, but with a breadth of view and of treatment which are to-day the despair of painters. There was nothing of the ethereal, the spiritual, the pietistic, or the pathetic about him. He never for a moment left the firm basis of reality. Standing upon earth he recorded the truths of the earth, but in their largest, fullest, most universal forms.

Technically his was a master-hand, doing all things with ease, giving exact relations of colors and lights, and placing everything so perfectly that no addition or alteration is thought of. With the brush he was light, easy, sure. The surface looks as though touched once, no more. It is the perfection of handling through its simplicity and certainty, and has not the slightest trace of affectation or mannerism. He was one of the few Spanish painters who were enabled to shake off the yoke of the Church. Few of his canvases are religious in subject. Under royal patronage he pa.s.sed almost all of his life in painting portraits of the royal family, ministers of state, and great dignitaries. As a portrait-painter he is more widely known than as a figure-painter. Nevertheless he did many canvases like The Tapestry Weavers and The Surrender at Breda, which attest his remarkable genius in that field; and even in landscape, in _genre_, in animal painting, he was a very superior man. In fact Velasquez is one of the few great painters in European history for whom there is nothing but praise. He was the full-rounded complete painter, intensely individual and self-a.s.sertive, and yet in his art recording in a broad way the Spanish type and life. He was the climax of Spanish painting, and after him there was a rather swift decline, as had been the case in the Italian schools.

Mazo (1610?-1667), pupil and son-in-law of Velasquez, was one of his most facile imitators, and Carreno de Miranda (1614-1685) was influenced by Velasquez, and for a time his a.s.sistant. The Castilian school may be said to have closed with these late men and with Claudio Coello (1635?-1693), a painter with a style founded on t.i.tian and Rubens, whose best work was of extraordinary power. Spanish painting went out with Spanish power, and only isolated men of small rank remained.

ANDALUSIAN SCHOOL: This school came into existence about the middle of the sixteenth century. Its chief centre was at Seville, and its chief patron the Church rather than the king. Vargas (1502-1568) was probably the real founder of the school, though De Castro (fl. 1454) and others preceded him. Vargas was a man of much reputation and ability in his time, and introduced Italian methods and elegance into the Andalusian school after twenty odd years of residence in Italy. He is said to have studied under Perino del Vaga, and there is some sweetness of face and grace of form about his work that point that way, though his composition suggests Correggio. Most of his frescos have perished; some of his canvases are still in existence.

Cespedes (1538?-1608) is little known through extant works, but he achieved fame in many departments during his life, and is said to have been in Italy under Florentine influence. His coloring was rather cold, and his drawing large and flat. The best early painter of the school was Roelas (1558?-1625), the inspirer of Murillo and the master of Zurbaran. He is supposed to have studied at Venice, because of his rich, glowing color. Most of his works are religious and are found chiefly at Seville. He was greatly patronized by the Jesuits. Pacheco (1571-1654) was more of a pedant than a painter, a man of rule, who to-day might be written down an academician. His drawing was hard, and perhaps the best reason for his being remembered is that he was one of the masters and the father-in-law of Velasquez. His rival, Herrera the Elder (1576?-1656) was a stronger man--in fact, the most original artist of his school. He struck off by himself and created a bold realism with a broad brush that antic.i.p.ated Velasquez--in fact, Velasquez was under him for a time.

The pure Spanish school in Andalusia, as distinct from Italian imitation, may be said to have started with Herrera. It was further advanced by another independent painter, Zurbaran (1598-1662), a pupil of Roelas. He was a painter of the emaciated monk in ecstasy, and many other rather dismal religious subjects expressive of tortured rapture.

From using a rather dark shadow he acquired the name of the Spanish Caravaggio. He had a good deal of Caravaggio's strength, together with a depth and breadth of color suggestive of the Venetians. Cano (1601-1667), though he never was in Italy, had the name of the Spanish Michael Angelo, probably because he was sculptor, painter, and architect. His painting was rather sharp in line and statuesque in pose, with a coloring somewhat like that of Van Dyck. It was eclectic rather than original work.

[Ill.u.s.tration: FIG. 72.--FORTUNY. SPANISH MARRIAGE.]

Murillo (1618-1682) is generally placed at the head of the Andalusian school, as Velasquez at the head of the Castilian. There is good reason for it, for though Murillo was not the great painter he was sometime supposed, yet he was not the weak man his modern critics would make him out. A religious painter largely, though doing some _genre_ subjects like his beggar-boy groups, he sought for religious fervor and found, only too often, sentimentality. His madonnas are usually after the Carlo Dolci pattern, though never so excessive in sentiment. This was not the case with his earlier works, mostly of humble life, which were painted in rather a hard, positive manner.

Later on he became misty, veiled in light and effeminate in outline, though still holding grace. His color varied with his early and later styles. It was usually gay and a little thin. While basing his work on nature like Velasquez, he never had the supreme poise of that master, either mentally or technically; howbeit he was an excellent painter, who perhaps justly holds second place in Spanish art.

SCHOOL OF VALENCIA: This school rose contemporary with the Andalusian school, into which it was finally merged after the importance of Madrid had been established. It was largely modelled upon Italian painting, as indeed were all the schools of Spain at the start. Juan de Joanes (1507?-1579) apparently was its founder, a man who painted a good portrait, but in other respects was only a fair imitator of Raphael, whom he had studied at Rome. A stronger man was Francisco de Ribalta (1550?-1628), who was for a time in Italy under the Caracci, and learned from them free draughtsmanship and elaborate composition.

He was also fond of Sebastiano del Piombo, and in his best works (at Valencia) reflected him. Ribalta gave an early training to Ribera (1588-1656), who was the most important man of this school. In reality Ribera was more Italian than Valencian, for he spent the greater part of his life in Italy, where he was called Lo Spagnoletto, and was greatly influenced by Caravaggio. He was a Spaniard in the horrible subjects that he chose, but in coa.r.s.e strength of line, heaviness of shadows, harsh handling of the brush, he was a true Neapolitan Darkling. A p.r.o.nounced mannerist he was no less a man of strength, and even in his shadow-saturated colors a painter with the color instinct.

In Italy his influence in the time of the Decadence was wide-spread, and in Spain his Italian pupil, Giordano, introduced his methods for late imitation. There were no other men of much rank in the Valencian school, and, as has been said, the school was eventually merged in Andalusian painting.

EIGHTEENTH AND NINETEENTH-CENTURY PAINTING IN SPAIN: Almost directly after the pa.s.sing of Velasquez and Murillo Spanish art failed. The eighteenth-century, as in Italy, was quite barren of any considerable art until near its close. Then Goya (1746-1828) seems to have made a partial restoration of painting. He was a man of peculiarly Spanish turn of mind, fond of the brutal and the b.l.o.o.d.y, picturing inquisition scenes, bull-fights, battle pieces, and revelling in caricature, sarcasm, and ridicule. His imagination was grotesque and horrible, but as a painter his art was based on the natural, and was exceedingly strong. In brush-work he followed Velasquez; in a peculiar forcing of contrasts in light and dark he was apparently quite himself, though possibly influenced by Ribera's work. His best work shows in his portraits and etchings.

After Goya's death Spanish art, such as it was, rather followed France, with the extravagant cla.s.sicism of David as a model. What was produced may be seen to this day in the Madrid Museum. It does not call for mention here. About the beginning of the 1860's Spanish painting made a new advance with Mariano Fortuny (1838-1874). In his early years he worked at historical painting, but later on he went to Algiers and Rome, finding his true vent in a bright sparkling painting of _genre_ subjects, oriental scenes, streets, interiors, single figures, and the like. He excelled in color, sunlight effects, and particularly in a vivacious facile handling of the brush. His work is brilliant, and in his late productions often spotty from excessive use of points of light in high color. He was a technician of much brilliancy and originality, his work exciting great admiration in his day, and leading the younger painters of Spain into that ornate handling visible in their works at the present time. Many of these latter, from a.s.sociation with art and artists in Paris, have adopted French methods, and hardly show such a thing as Spanish nationality.

Fortuny's brother-in-law, Madrazo (1841-), is an example of a Spanish painter turned French in his methods--a facile and brilliant portrait-painter. Zamacois (1842-1871) died early, but with a reputation as a successful portrayer of seventeenth-century subjects a little after the style of Meissonier and not unlike Gerome. He was a good colorist and an excellent painter of textures.

[Ill.u.s.tration: FIG. 73.--MADRAZO, UNMASKED.]

The historical scene of Mediaeval or Renaissance times, pageants and fetes with rich costume, fine architecture and vivid effects of color, are characteristic of a number of the modern Spaniards--Villegas, Pradilla, Alvarez. As a general thing their canvases are a little flashy, likely to please at first sight but grow wearisome after a time. Palmaroli has a style that resembles a mixture of Fortuny and Meissonier; and some other painters, like Luis Jiminez Aranda, Sorolla, Zuloaga, Anglada, Garcia y Remos, Vierge, Roman Ribera, and Domingo, have done excellent work. In landscape and Venetian scenes Rico leads among the Spaniards with a vivacity and brightness not always seen to good advantage in his late canvases.

PRINc.i.p.aL WORKS: Generally speaking, Spanish art cannot be seen to advantage outside of Spain. Both its ancient and modern masterpieces are at Madrid, Seville, Toledo, and elsewhere. The Royal Gallery at Madrid has the most and the best examples.

CASTILIAN SCHOOL--Rincon, altar-piece church of Robleda de Chavilla; Berruguete, altar-pieces Saragossa, Valladolid, Madrid, Toledo; Morales, Madrid and Louvre; Sanchez-Coello, Madrid and Brussels Mus.; Navarette, Escorial, Madrid, St.

Petersburg; Theotocopuli, Cathedral and S. Tome Toledo, Madrid Mus.; Velasquez, best works in Madrid Mus., Escorial, Salamanca, Montpensier Gals., Nat. Gal. Lon., Infanta Marguerita Louvre, Borro portrait (?) Berlin, Innocent X.

Doria Rome; Mazo, landscapes Madrid Mus.; Carreno de Miranda, Madrid Mus.; Claudio Coello, Escorial, Madrid, Brussels, Berlin, and Munich Mus.

ANDALUSIAN SCHOOL--Vargas, Seville Cathedral; Cespedes, Cordova Cathedral; Roelas, S. Isidore Cathedral, Museum Seville; Pacheco, Madrid Mus.; Herrera, Seville Cathedral and Mus. and Archbishop's Palace, Dresden Mus.; Zurbaran, Seville Cathedral and Mus. Madrid, Dresden, Louvre, Nat.

Gal. Lon.; Cano, Madrid, Seville Mus. and Cathedral, Berlin, Dresden, Munich; Murillo, best pictures in Madrid Mus. and Acad. of S. Fernando Madrid, Seville Mus. Hospital and Capuchin Church, Louvre, Nat. Gal. Lon., Dresden, Munich, Hermitage.

VALENCIAN SCHOOL--Juan de Joanes, Madrid Mus., Cathedral Valencia, Hermitage; Ribalta, Madrid and Valencian Mus., Hermitage; Ribera, Louvre, Nat. Gal. Lon., Dresden, Naples, Hermitage, and other European museums, chief works at Madrid.

MODERN MEN AND THEIR WORKS--Goya, Madrid Mus., Acad. of S.

Fernando, Valencian Cathedral and Mus., two portraits in Louvre. The works of the contemporary painters are largely in private hands where reference to them is of little use to the average student. Thirty Fortunys are in the collection of William H. Stewart in Paris. His best work, The Spanish Marriage, belongs to Madame de Ca.s.sin, in Paris. Examples of Villegas, Madrazo, Rico, Domingo, and others, in the Vanderbilt Gallery, Metropolitan Mus., New York; Boston, Chicago, and Philadelphia Mus.

CHAPTER XVI.

FLEMISH PAINTING.

BOOKS RECOMMENDED: Busscher, _Recherches sur les Peintres Gantois_; Crowe and Cavalcaselle, _Early Flemish Painters_; Cust, _Van Dyck_; Dehaisnes, _L'Art dans la Flandre_; Du Jardin, _L'art Flamand_; Eisenmann, _The Brothers Van Eyck_; Fetis, _Les Artistes Belges a l'etranger_; Fromentin, _Old Masters of Belgium and Holland_; Gerrits, _Rubens zyn Tyd, etc._; Guiffrey, _Van Dyck_; Ha.s.selt, _Histoire de Rubens_; (Waagen's) Kugler, _Handbook of Painting--German, Flemish, and Dutch Schools_; Lemonnier, _Histoire des Arts en Belgique_; Mantz, _Adrien Brouwer_; Michel, _Rubens_; Michiels, _Rubens en l'ecole d'Anvers_; Michiels, _Histoire de la Peinture Flamande_; Stevenson, _Rubens_; Van den Branden, _Geschiedenis der Antwerpsche Schilderschool_; Van Mander, _Le Livre des Peintres_; Waagen, _Uber Hubert und Jan Van Eyck_; Waagen, _Peter Paul Rubens_; Wauters, _Rogier van der Weyden_; Wauters, _La Peinture Flamande_; Weale, _Hans Memling_ (_Arundel Soc._); Weale, _Notes sur Jean Van Eyck_.

THE FLEMISH PEOPLE: Individually and nationally the Flemings were strugglers against adverse circ.u.mstances from the beginning. A realistic race with practical ideas, a people rather warm of impulse and free in habits, they combined some German sentiment with French liveliness and gayety. The solidarity of the nation was not accomplished until after 1385, when the Dukes of Burgundy began to extend their power over the Low Countries. Then the Flemish people became strong enough to defy both Germany and France, and wealthy enough, through their commerce with Spain, Italy, and France to encourage art not only at the Ducal court but in the churches, and among the citizens of the various towns.

[Ill.u.s.tration: FIG. 74.--VAN EYCKS. ST. BAVON ALTAR-PIECE (WING).

BERLIN.]

FLEMISH SUBJECTS AND METHODS: As in all the countries of Europe, the early Flemish painting pictured Christian subjects primarily. The great bulk of it was church altar-pieces, though side by side with this was an admirable portraiture, some knowledge of landscape, and some exposition of allegorical subjects. In means and methods it was quite original. The early history is lost, but if Flemish painting was beholden to the painting of any other nation, it was to the miniature painting of France. There is, however, no positive record of this. The Flemings seem to have begun by themselves, and pictured the life about them in their own way. They were apparently not influenced at first by Italy. There were no antique influences, no excavated marbles to copy, no Byzantine traditions left to follow. At first their art was exact and minute in detail, but not well grasped in the ma.s.s. The compositions were huddled, the landscapes pure but finical, the figures inclined to slimness, awkwardness, and angularity in the lines of form or drapery, and uncertain in action. To offset this there was a positive realism in textures, perspective, color, tone, light, and atmosphere. The effect of the whole was odd and strained, but the effect of the part was to convince one that the Flemish painters were excellent craftsmen in detail, skilled with the brush, and shrewd observers of nature in a purely picturesque way.

To the Flemish painters of the fifteenth century belongs, not the invention of oil-painting, for it was known before their time, but its acceptable application in picture-making. They applied oil with color to produce brilliancy and warmth of effect, to insure firmness and body in the work, and to carry out textural effects in stuffs, marbles, metals, and the like. So far as we know there never was much use of distemper, or fresco-work upon the walls of buildings. The oil medium came into vogue when the miniatures and illuminations of the early days had expanded into panel pictures. The size of the miniature was increased, but the minute method of finishing was not laid aside.

Some time afterward painting with oil upon canvas was adopted.

SCHOOL OF BRUGES: Painting in Flanders starts abruptly with the fifteenth century. What there was before that time more than miniatures and illuminations is not known. Time and the Iconoclasts have left no remains of consequence. Flemish art for us begins with Hubert van Eyck (?-1426) and his younger brother Jan van Eyck (?-1440). The elder brother is supposed to have been the better painter, because the most celebrated work of the brothers--the St.

Bavon altar-piece, parts of which are in Ghent, Brussels, and Berlin--bears the inscription that Hubert began it and Jan finished it. Hubert was no doubt an excellent painter, but his pictures are few and there is much discussion whether he or Jan painted them. For historical purposes Flemish art was begun, and almost completed, by Jan van Eyck. He had all the attributes of the early men, and was one of the most perfect of Flemish painters. He painted real forms and real life, gave them a setting in true perspective and light, and put in background landscapes with a truthful if minute regard for the facts. His figures in action had some awkwardness, they were small of head, slim of body, and sometimes stumbled; but his modelling of faces, his rendering of textures in cloth, metal, stone, and the like, his delicate yet firm _facture_ were all rather remarkable for his time. None of this early Flemish art has the grandeur of Italian composition, but in realistic detail, in landscape, architecture, figure, and dress, in pathos, sincerity, and sentiment it is unsurpa.s.sed by any fifteenth-century art.

[Ill.u.s.tration: FIG. 75.--MEMLING (?). ST. LAWRENCE (DETAIL). NAT.

GAL., LONDON.]

Little is known of the personal history of either of the Van Eycks.

They left an influence and had many followers, but whether these were direct pupils or not is an open question. Peter Cristus (1400?-1472) was perhaps a pupil of Jan, though more likely a follower of his methods in color and general technic. Roger van der Weyden (1400?-1464), whether a pupil of the Van Eycks or a rival, produced a similar style of art. His first master was an obscure Robert Campin.

He was afterward at Bruges, and from there went to Brussels and founded a school of his own called the

SCHOOL OF BRABANT: He was more emotional and dramatic than Jan van Eyck, giving much excited action and pathetic expression to his figures in scenes from the pa.s.sion of Christ. He had not Van Eyck's skill, nor his detail, nor his color. More of a draughtsman than a colorist, he was angular in figure and drapery, but had honesty, pathos, and sincerity, and was very charming in bright background landscapes. Though spending some time in Italy, he was never influenced by Italian art. He was always Flemish in type, subject, and method, a trifle repulsive at first through angularity and emotional exaggeration, but a man to be studied.

By Van der Goes (1430?-1482) there are but few good examples, the chief one being an altar-piece in the Uffizi at Florence. It is angular in drawing but full of character, and in beauty of detail and ornamentation is a remarkable picture. He probably followed Van der Weyden, as did also Justus van Ghent (last half of fifteenth century).

Contemporary with these men Dierick Bouts (1410-1475) established a school at Haarlem. He was Dutch by birth, but after 1450 settled in Louvain, and in his art belongs to the Flemish school. He was influenced by Van der Weyden, and shows it in his detail of hands and melancholy face, though he differed from him in dramatic action and in type. His figure was awkward, his color warm and rich, and in landscape backgrounds he greatly advanced the painting of the time.

Memling (1425?-1495?), one of the greatest of the school, is another man about whose life little is known. He was probably a.s.sociated with Van der Weyden in some way. His art is founded on the Van Eyck school, and is remarkable for sincerity, purity, and frankness of att.i.tude. As a religious painter, he was perhaps beyond all his contemporaries in tenderness and pathos. In portraiture he was exceedingly strong in characterization, and in his figures very graceful. His flesh painting was excellent, but in textures or landscape work he was not remarkable. His best followers were Van der Meire (1427?-1474?) and Gheeraert David (1450?-1523). The latter was famous for the fine, broad landscapes in the backgrounds of his pictures, said, however, by critics to have been painted by Joachim Patinir. He was realistically horrible in many subjects, and though a close recorder of detail he was much broader than any of his predecessors.

FLEMISH SCHOOLS OF THE SIXTEENTH CENTURY: In this century Flemish painting became rather widely diffused. The schools of Bruges and Ghent gave place to the schools in the large commercial cities like Antwerp and Brussels, and the commercial relations between the Low Countries and Italy finally led to the dissipation of national characteristics in art and the imitation of the Italian Renaissance painters. There is no sharp line of demarcation between those painters who clung to Flemish methods and those who adopted Italian methods.

The change was gradual.

[Ill.u.s.tration: FIG. 76.--Ma.s.sYS. HEAD OF VIRGIN. ANTWERP.]

Quentin Ma.s.sys (1460?-1530) and Mostert (1474-1556?), a Dutchman by birth, but, like Bouts, Flemish by influence, were among the last of the Gothic painters in Flanders, and yet they began the introduction of Italian features in their painting. Ma.s.sys led in architectural backgrounds, and from that the Italian example spread to subjects, figures, methods, until the indigenous Flemish art became a thing of the past. Ma.s.sys was, at Antwerp, the most important painter of his day, following the old Flemish methods with many improvements. His work was detailed, and yet executed with a broader, freer brush than formerly, and with more variety in color, modelling, expression of character. He increased figures to almost life-size, giving them greater importance than landscape or architecture. The type was still lean and angular, and often contorted with emotion. His Money-Changers and Misers (many of them painted by his son) were a _genre_ of his own. With him closed the Gothic school, and with him began the

ANTWERP SCHOOL, the pupils of which went to Italy, and eventually became Italianized. Mabuse (1470?-1541) was the first to go. His early work shows the influence of Ma.s.sys and David. He was good in composition, color, and brush-work, but lacked in originality, as did all the imitators of Italy. Franz Floris (1518?-1570) was a man of talent, much admired in his time, because he brought back reminiscences of Michael Angelo to Antwerp. His influence was fatal upon his followers, of whom there were many, like the Franckens and De Vos. Italy and Roman methods, models, architecture, subjects, began to rule everywhere.

From Brussels Barent van Orley (1491?-1542) left early for Italy, and became essentially Italian, though retaining some Flemish color. He painted in oil, tempera, and for gla.s.s, and is supposed to have gained his brilliant colors by using a gilt ground. His early works remind one of David. Cocxie (1499-1592), the Flemish Raphael, was but an indifferent imitator of the Italian Raphael. At Liege the Romanists, so called, began with Lambert Lombard (1505-1566), of whose work nothing authentic remains except drawings. At Bruges Peeter Pourbus (1510?-1584) was about the last one of the good portrait-painters of the time. Another excellent portrait-painter, a pupil of Scorel, was Antonio Moro (1512?-1578?). He had much dignity, force, and elaborateness of costume, and stood quite by himself. There were other painters of the time who were born or trained in Flanders, and yet became so naturalized in other countries that in their work they do not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?), Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this group.

Among all the strugglers in Italian imitation only a few landscapists held out for the Flemish view. Paul Bril (1554-1626) was the first of them. He went to Italy, but instead of following the methods taught there, he taught Italians his own view of landscape. His work was a little dry and formal, but graceful in composition, and good in light and color. The Brueghels--there were three of them--also stood out for Flemish landscape, introducing it nominally as a background for small figures, but in reality for the beauty of the landscape itself.