Painting and Reality - Images
List of Plates1
Front. Black Bull. Lascaux Cave, Dordogne, France, Aurignacian period (about 60,000-40,000 B.C.)
1. Matteo Giovanetti, Christ on the Cross about 1345, Fresco, St. Martial Chapel, Palace of the Popes, Avignon
2. Jacques-Louis David. Bonaparte Crossing the St. Bernard 1800 Versailles
3. Theodore Gericault. Epsom Derby 1821. Louvre
4a. Edouard Manet. The Tumblers About 1861. Black lead pencil and speia wash. Bibliotheque Nationale, Paris
4b. Eugene Delacroix. Arab Horses Fighting in a Stable 1860. Louvre
5. Georges Seurat. The Circus 1890/91. Unfinished. Louvre
6a. Jacques-Louis David, The Sabine Women 1799, Louvre
6b. Diego Velazquez. The Surrender of Breds 1634/35. Prado, Madrid
7a. Nicolas Poussin. The Rape of the Sabine Women Before 1637. Metropolitan Museum of Art, New York
7b. Nicolas Poussin. The Baptism of Christ 1646/47. Collection of the Earl of Eliesmere, Mertown, Scotland
8a. Nicolas Poussin. The Rape of the Sabine Women About 1630. Louvre
8b. Nicolas Poussis. The Funeral of Phoecion 1648 Louvre
9. Francisco Goya, The Forge about 1815. Frick Colllection, New York
10. Pieter Janssess. Woman Reading, about 1760. Haus der Kunst, Munich
11a. Hendrik Van der Vliet. Interior of a Church Mid 17th century. Private collection
11b. Pieter Saenredam Interior of St. John's Church, Utrecht 1645, Centraal Muserum, Utrecht
12. Jan Vermeer. A Street in Delft about 1658. Rijksmuseum, Amsterdam
13a. Jan Vermeer, View of Delft about 1658. Mauritshuis, The Hague
13b. Pieter Saenredam, View of St. Mary's Church, Utrecht 1663. Boymans Museum, Rotterdam
14a. Baugin, Wafers and Wine about 1630. Louvre
14b. J.B.S. Chardin. The Silver Cup about 1776. Louvre
15. Georges Seurat, La Parade 1887/88, Stephen C. Clark Collection, New York
16. Juan Gris, Fruit Dish with Water Bottle 1914 Collage. Rijksmuseum Kroller-Muller, Otterlo
Chapter 2
17a. Eugene Delacroix. George Sand, 1838. Fragment of originally larger composition. Hansen Collection, Ordrupgaard Museum, Copenhagen.
17b. Eugene Delacroix. Frederic Chopin, 1838. Fragment of originally larger composition. Louvre.
18. Alfred Reth. Still Life Before a Window, 1912. Paint and paper collage. Musee national d'art moderne, Paris.
19a. J.A.D. Ingress. Mme Destouches, 1816. Black lead pencil. Louvre.
19b. J.A.D. Ingres. Mne Ingres, 1814. Black lead pencil and wash. Musee Ingres, Montauban.
19c. J.A.D. Ingres. Mme Riviere, 1805. Louvre.
20. Edouard Manet. A Bar at the Folies-Bergere, 1881. National Gallery, London.
21. Edouard Manet. The Model for " A Bar at the Folies-Bergere", 1881. Pastel. Musee, Dijon.
22. The Annunciation, Fifth Century. Mosaic. Santa Maria Maggiore, Rome.
23. Jean Lurcat. The Virgin and the Dragon, 1928. Tapestry. Notre-Dame de Toute Grace, Assy, France.
24. Fernand Leger. The Instruments of the Passion, Installed 1951. Stained glass. Sacre-Coeur, Audincourt, France.
Chapter 3
25a. Jan Vermeer, Diana and Her Nymphs, about 1654. Mauritshuis, The Hague.
25b. Hans Van Meegeren. The Disciples at Emmaus, about 1936/37. (Vermeer forgery), Stichting Boymans Museum, Rotterdam.
26. A faked Dufy, International exhibition, "Le Faux dans l'art et dans l'histoire," organized by the French police, 1955.
27. A faked Utrillo, International exhibition, "Le Faux dans l'art et dans l'histoire," organized by the French police, 1955.
28. The Hahn Belle Ferronniere [As titled by its owner: "The Hahn painting, Portrait of a Woman by Leonardo da Vinci, popularly know as La Belle Ferronniere-the only historically documented Da Vinci painting in the USA."]
29. The Louvre Belle Ferronniere
30a. Vincent van Gogh. The Olive Orchard, 1889, Chester Dale Collection, National Gallery of Art, Washington.
30b. Andre Derain. Collioure, Mountains, 1905. Mr. and Mrs. John Hay Whitney Collection, New York.
31a. George Brazue. The Harbor of La Ciotat, 1907. Mr. and Mrs. John Hay Whitney Collection, New York.
31b. Raoul Dufy. The Harbor of Le Havre, about 1905. The Art Gallery of Toronto.
32. Albert Marquet. Fourteenth of July in Le Havre, 1905. Private collection.
33. Raoul Dufy, Fourteenth of July in Le Havre, 1907. Mme Marcelle Bourdon Collection, Paris.
34. Andre Derain, Three Trees, L'Estaque, 1906. Mr. and Mrs. A.S.J. Zacks Collection, Toronto.
35. Andre Derain, The Old Bridge, 1910. Chester Dale Collection, National Gallery of Art, Washington.
36. Andre Derain, Amiens, 1953. Pierre Levy Collection, Troyes.
Chapter 4
37. Georges Seurat, The Black Bow. About 1882, black conte crayon, private collection.
38. Martin Schongauer, Angel of the Annunciation. Engraving, Rosenwald Collection, National Gallery of Art, Washington.
39. Albrecht Durer, St. Eustace. Before 1505, engraving, Rosenwald Collection, National Gallery of Art, Washington.
40. J.B.C. Corot, The Broken Bridge. About 1855, pen and ink, Louvre.
41. Pieter Brueghel the Elder, The Journey to Emmaus. About 1555, engraving, Rosenwald Collection, National Gallery of Art, Washington.
42. Paul Klee, Uncomposed Components in Space. 1929, water color, private colleciton, Bern.
43a. Paul Klee, Family Promenade: Tempo 2. 1930, pen and colored inks, Paul Klee Foundation, Bern.
43b. Paul Klee, Around the Fish. 1926, Museum of Modern Art, New York.
44. Georges Bretegnier, The Studio of Meissonier. 1891, engraving after the painting.
45. Eugene Delacroiz, Corner of a Studio. About 1830, Louvre.
46. Michelangelo, God Dividing the Light from the Darkness. 1510, fresco, Sistine Chapel, Vatican, Rome.
47. Michelangelo, God Dividing the Waters from the Earth. 1510, fresco, Sistine Chapel, Vatican, Rome.
48. Michelangelo, The Creation of Woman. 1510, fresco, Sistine Chapel, Vatican, Rome.
Chapter 5
49. Piero Di Cosimo, The Death of Procris. About 1490/1500, National Gallery, London
50 a. Theodore Gericault, The Raft of the Medusa. 1818/19 Louvre.
50b. Eugene Delacroix, Dante and Virgil. 1822, Louvre.
51a. Eugene Delacroix, The Shipwreck of Don Juan. 1840, Louvre.
51b. Eugene Delacroix,Christ on the Lake of Gennesaret. 1853, Metropolitan Museum of Art, New York.
51c. Eugene Delacroix, Christ on the Sea of Galilee. 1854, Walters Art Gallery, Baltimore.
52a. J.A.D. Ingres, Bather. 1826, Phillips Colleciton, Washington.
52b. J.A.D. Ingres, The Small Bathing Woman. 1828, Louvre.
53a. J.A.D. Ingres, The Turkish Bath. State in 1859, Louvre.
53b. J.A.D. Ingres, The Turkish Bath. Present State, 1862, Louvre.
54. Paul Gauguin, Whence Do We Come? What Are We? Whither Are We Going?. 1898, Museum of Fine Arts, Boston.
55. Pierre Puvis de Chavannes, Summer. 1891, J.H. Wade Collection, Cleveland Museum of Art.
56. John Constable, Sketch for "Salisbury Cathedral from the Bishop's Grounds". City of Birmingham Museum and Art Gallery, Birmingham, England.
57. John Constable, Salisbury Cathedral from the Bishop's Grounds. Metropolitan Museum of Art, New York.
58. J.B.C. Corot, The Narni Bridge (sketch). 1826, Louvre.
59a. Jacob van Ruisdael, A Landscape with a Footbridge. 1652, Frick Collection, New York.
59b. J.B.C. Corot, The Narni Bridge. 1826/27, National Gallery of Canada, Ottawa.
60a. Frans Hals, The Jolly Toper. About 1627/30, Rijksmuseum, Amsterdam.
60b. Edouard Manet, Le Bon Bock. 1873, Caroll S. Tyson Collection, Philadelphia.
Chapter Six
61. Sandro Botticelli, Scene from the "Legend of Nastagio degli Onesti". 1487, Prado, Madrid.
62. Sandro Botticelli, Scene from the "Legend of Nastagio degli Onesti". 1487, Prado, Madrid.
63. Sandro Botticelli, Scene from the "Legend of Nastagio degli Onesti". 1487, Prado, Madrid.
64a. Domenico Veneziano, St. John in the Desert. About 1450, Samuel H. Kress Collection, National Gallery of Art, Washington.
64b. Paolo Uccello, St. George and the Dragon. About 1455/60, Musee Jacque-Andre, Paris.
Chapter Eight
65. Andrea Mantegna, The Dead Christ. A late work (after 1490), Brera, Milan.
66. Vittore Carpaccio, St. Stephen Disputing with the Doctors. 1514, Brera, Milan.
67. Jacopo Tintoretto, Finding the Body of St. Mark. About 1562, Brera, Milan.
68. Antonello da Messina, St. Jerome in His Study. About 1460, National Gallery, London.
69. Andrea Pozzo, The Apotheosis of St. Ignatius. About 1685, Sant' Ignazio, Rome.
70. Pablo Picasso, Still Life. 1908, Solomon R. Guggenheim Museum, New York.
71. Pable Picasso, Mandolin and Guitar. 1924, Oil with sand on canvas, Solomon R. Guggenheim Museum, New York.
72. Piet Mondrian, Composition in White, Black, and Red. 1936, Museum of Modern Art, New York.
73. Piet Mondrian, Victory Boogie Woogie. 1944, Paint and paper, unfinished, Miller Company Collection, Meriden, Connecticut.
74. Jan van Eyck, The Marriage of Giovanni Arnolfini and Giovanna Cenami. 1434, National Gallery, London.
75a. Ernest Meissonier, The Flutist. 1858, Louvre.
75b. Edouard Manet, The Fifer. 1866, Louvre.
76. Emile Renouf, The Helping Hand. 1881, Corcoran Gallery of Art, Washington.
77. Mary Cassatt, The Boating Party. 1893/94, Chester Dale Collection, National Gallery of Art, Washington.
78a. Norman Rockwell, Thanksgiving. 1951 The Saturday Evening Post Collection, Philadelphia.
78b. J.B.S. Chardin, Grace. 1740, Louvre.
79. Alfred Manessier, Crown of Thorns. 1954, Carnegie Institute, Pittsburg.
80a. Jacqueline Gilson, Sketch for a "Pieta".
80b. Jacqueline Gilson, Sketch for a "Pieta". 1952, In the possession of the artist.
Chapter 9
81. Jacqueline Gilson, Red and Green. 1945, Hart House, Toronto.
82. Alfred Reth, Harmonie de Matieres. 1951, Musee national d'art moderne, Paris.
83. Maurice Denis, Petrarch and Laura. Private collection.
84. Paul Gauguin, The Yellow Christ. 1889, Albright Art Gallery, Buffalo.
85. Georges Rouault, Crucifixion. 1925, Lithograph.
86a. Paul Gauguin, Tahitian Nativity (Ne Tamari No Atua). 1896, Haus de Kunst, Munish.
86b. Maurice Denis, La Nativite de Jean-Paul. 1895, private collection.
87. Robert Delauney, Eiffel Tower. 1910, Solomon R. Guggenheim Museum, New York.
88a. Juan Gris, The Open Window. 1921, private collection.
88b. Albert Gleizes, The Harbor. 1912, Art Gallery of Toronto.
The responsibility for the choice of the plates is entirely mine, but the responsibility for the captions has been largely assumed by scholars to whose judgments I was the more willing to defer as, not being myself an art historian, I could not have brought them to the same degree of precision. Two or three minor discrepancies between the captions and my own text will perhaps be noted. These are not oversights. Here are the points on which I would have expressed myself in a slightly different way.
Pl. 17a, b. These two portraits are fragments, not only of an originally larger composition, but of one and the same composition. The fact has a direct bearing upon the problem of "individuality" in paintings, for, indeed, its knowledge enables one to give their full meaning to the attitudes of the two personages. Despite what the catalogues say, Delacroix has not painted two portraits, one of George Sand, the other of Frederic Chopin. He has painted a single composition representing Chopin playing for George Sand and George Sand listening to Chopin. Even separated by what looks like an act of vandalism, this is what they still are doing. There is no obligation, for catalogues, to ratify the consequences of such an act. My own captions would be: Frederic Chopin Playing for George Sand, and George Sand Listening to Frederic Chopin.
Pl. 41. The caption should be read as meaning: engraving from a pen drawing by Pieter Brueghel. See the relevant note by Elizabeth Mongan, Selections from the Rosenwald Collection (Washington: National Gallery of Art, 1943), p. 61.
Pl. 74. The caption says: The Marriage of Giovanni Arnolfini and Giovanna Cenami. The first word, at least, is not correct. What an unusual marriage, celebrated by a man and a woman in what seems to be their own bedroom, with no other witness than their dog! Moreover, for very strong reasons developed by Maurice W. Brockwell (see my bibliography), it seems certain that the man represents the painter himself. The title should be: The Double Portrait of Jan Van Eyck and His Wife Margaret. When an error has been printed in a catalogue, only a supernatural power could dislodge it.
To repeat, such details have their importance for art history, but they are of secondary importance for painting taken precisely qua art.
E. G.
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