Identifier: mastehric00fift (find matches)
Title: Catalogue of the Ehrich Galleries collection of valuable paintings : by the masters of the classic Italian, Dutch, Flemish, English, Spanish, and French schools
Year: 1905 (1900s)
Authors: Fifth Avenue Art Galleries (New York, N.Y.)
Subjects: Ehrich Galleries
Publisher: New York
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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Text Appearing Before Image:
on that account was called Francesco Veronese.
He was the best pupil of Paul, and his works often approach those
of his master. Lanzi praises the beautiful faces and clothing of
his figures.

EUROPA AND THE BULL

An Italian painter full of the traditions of Titian and Vero-
nese, Montemezzano has great dramatic ability. His Europa
has opulent charms of the blond women Titian loved to paint; in-
stead of being the coy virgin culling flowers whom the old Greek
poets describe. She is a proud queen whom her maids cover with
jewels. A garland encircles the neck of the white bull which
turns its muzzle to kiss the sandled foot, of the fair lady. A
difficult bit of foreshortening is seen in the little Cupid who comes
down through the air and lets a flower drop into Europas up-
lifted left hand. Observe in the distance the sea and the second
act—the Bull swimming off with Europa.
Crowded canvas, rich tones, big decorative quality.
On canvas; height, 39 inches; width, 32¹/₄ inches.

COUNTESS OF CHESTERFIELD.

Text Appearing After Image:
SIR PETER LELY.


1617—1680

61

SALVATOR ROSA

Italian School

1615-1673

Rosa was born in Italy, and spent his whole life in Naples,
Rome and Florence. After great struggles with poverty and
neglect, he finally achieved the very highest distinction. The
brightest era of landscape-painting is said to have been in the time
of Pope Urban VIII, when flourished Claude Lorraine, Gaspard
Poussin, and Salvator Rosa. Of these Salvator was the most dis-
tinguished. Sir Joshua Reynolds said: What is most to be ad-
mired in the works of Salvator Rosa is the perfect correspondence
which he observed between the subject which he chose and his
manner of treating them.

ARCHITECTURAL DREAM

The hot-headed impressionistic Salvator Rosa, painter of bat-
tle-scenes and landscapes full of wild crag and blasted tree, must
have had a quiet hour when he conceived this exquisite poem of
the ruins of Rome. He brought together of one canvas all the
great hollow of the Coliseum, the Tiber with its ancient quays,
tall mediaeval tow

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