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HE artist to whom this picture is attributed— Jan Gossart, or Gossaert, popularly known as Mabuse, from his birthplace, Maubeuge, in Hain- ault — was born in 1470. He died in 1541, and tlius, while he was a few years younger than Quentin Massys, the period of their artistic activity may be said to have coincided. Of the great Netherlands school, which gave to the world the art of oil- painting in all its perfection, these may be said to have been the last masters. From the days of the Van Eycks, throughout the fifteenth century, the school maintained its purity and power — painstak- ing, conscientious, single in pui'pose, and severe to austerity. Mabuse stood at the turning-point, and was himself a jirincipal fiictor in the great change which culminated in the freedom, breadth, and lusty life of Rubens and his following. During his early years Mabuse dwelt contentedly in the traditions of his native school, under the powerful influence of his more mature contemporary Massys; but in 1508 he went to Italy, and there, during a stay of eleven years, he naturally came under the sway of the master-minds Leonardo and Michelangelo. The influence of these mighty exemplars he carried with him back to the Low Countries, and the little leaven leavening the whole lump, the Netherlandish school expired, and Flemish art took its place. From that point the Flemish school was differentiated from its ruder but more robust native neighbour on the nortli — the Dutch school. The change was in many senses a development and enfranchisement of art, which, come how it might, was bound to be attained ; but in the case of the Flemish school it was reached through an abandonment of native instincts and traditions, with the result of makins; Flemish art not Flemish, but a reflex of the great schools which grew up under different conditions and sunnier skies. The picture, which belongs to the M'Lellan The third annual exhibition of the Dublin Art Club, which was opened on the 14th January, included only 133 works, but the comparative fewness is directly due to the determination of the Committee not to admit paintings or studies below a somewhat high order of merit. The collection, therefore, is a very choice one, there being in it but little of the decidedly amateur element, and some of the members of the club having contributed works of great excellence. Mr. Walter Osborne, R. H.A., has several studies of undoubted merit, painted in the district of the Wiltshire Downs, depicted so charmingly by the late Richard Jefferies, the best being one named 'Potato-gathering,' which although per- fectly original, has much in it that reminds one of the best work of Macbeth and of the late Frederick Walker. Mr. Johnston Collection of the Glasgow Corporation Galleries, is obviously a work of the earlier, and we must say better and healthier, period of the artist. The work is fortunately in a remarkably perfect condition, and the theory that it is a portion only of a large altar-piece is scarcely borne out by the exceedingly minute and laborious treatment of details, and the scale upon which the landscape background is treated. Be that as it may, hei-e we have portraits of two men, who appear to be brothers, worked out with a fidelity of detail and with a vigour and individuality of characterisation nothing short of marvellous. How perfect the texture of fur, glove, golden embroidery, and glittering armour ! But also how calm, serious, resolute, and kindly the kneeling ecclesiastic, how equally sober and dignified, yet touched with melancholy, is the erect warrior. There remain the men as they were habited and grouped, and as their characters shone through the penetrative imagination of the artist, now well-nigh four centuries ago, and so they may continue for many centuries to come — types of what was noblest and most characteristic in a people who were uncon- sciously preparing themselves to take the foremost place in the portentous struggle for the liberty of modern times. The picture is with justice regarded as one of the gems of the Glasgow Gallery, and very fitly takes the first place in the series of selections we propose to reproduce from that little-worked and imperfectly appreciated mine of artistic wealth. Works by Mabuse are of not infrequent occurrence in public collections ; but the crowning glory of his genius is the great picture, ' The Adoration of the Magi,' in Castle Howard, the property of the Earl of Carlisle. The public had an opportunity of appreciating the merits of this masterpiece, when, a few years ago, it was shown in the Winter Ex- hibition of Old Masters in the Royal Academy. James Paton. Inglis, who gives great promise, has two or three fine landscapes, boldly and sympathetically treated, and Mr. Hone, R. H.A., some studies in the Malahide district, so pleasantly familiar to all lovers of this artist's masculine work. Mr. Waterlow, R.W.S., has sent several pictures, the most notable being a ' White Sands of Con- nemara,' poetically treated. Mr. Edward Stott, of Sussex, to distinguish him from Mr. Stott of Oldham, contributes three charming bits about the Downs, full of light and brilliant colour, and remarkable for their simple faithfulness. It is noteworthy that the exhibition contains much excellent work by lady artists ; notably Miss Purser in portraits and figures, and Miss Sophia Holmes in flowers, and it is pleasant to record that the sales have been fairly large.