PAIR OF SPECTACLES 



5926 



PAIR OF SPECTACLES 



PAINTING: PRINCIPAL SCHOOLS, DATES, AND ARTISTS 



SCHOOL 

 AND DATE 



ITALIAN 



12th to 18th 

 century 



FRENCH 

 15th to 20th 

 century 



GERMAN 

 14th to 17th 

 century 



SPANISH 



DUTCH 

 17th cen- 

 tury 



FLEMISH 



14th to 17th 

 century 



ENGLISH 

 17th to 20th 

 century 



SCOTTISH 

 18th to 20th 

 century 



SUBDIVISIONS 



Byzantine School, 9th 



to 12th century 

 Siena, 11th centu^ 

 Florence, 14th to 15th 

 century 



Venice, 15th to 18th 

 century 



Milan, 16th century 

 Rome, 15th to 18th 



century 



Naples, 16th century 

 Bologna, 16th to 18th 



century 



Padua, Uth to 

 . century 

 Genoa, 15th to 



century 

 Ferrara, loth to 17th 



century 

 Parma, 15th to 



century 



15th 

 l~th 



16th 



Classic School, 17th to 

 19th century 



Louis Quinze and Louis 

 Seize, 18ffi century 



Romantic School, in- 

 cluding Fontainebleau 

 Oroup, 19th century 



Realistic School, 19th 

 century 



Impressionist School, 

 Wth century 



Post-Impressionist 



School 



Cologne, Uth to 15th 

 century 



School of Swabia (Col- 

 mar, Vim, Augsburg), 

 15th to 16th century 



Nuremberg, 15th to 16th 

 century 



Madrid, 16th to 19th 

 century 



Seville, 16th to 18th 

 century 



The " Little Masters," 

 17th century 



17th century Portraitists 

 18th century Portraitists 



Subject and Landscape 

 Painters, 18th to 19th 

 century 



Pre-Raphaelite School, 



1848-C.1900 

 Modern Painters 



Portraitists and Subject 

 Painters, 18th and 

 19th centuries 



Landscape Painters, 

 19th century 



Modern Painters 



Margaritone, Cimabue 



Duccio 



Giotto, Fra Angelico, Filippo Lippi, Filip- 



pino Lippi, Sandro Botticelli, Paclo 



Uccello, Masaccio, Michelangelo 

 Carpaccio, the Bellini, Titian, Giorgione, 



Tintoretto, Paclo Veronese, Guardi, 



Canaletto, Tiepolo 



Leonardo da Vinci, Bernardino Luini 

 Raphael, Perugino, Giulio Romano 



Salvator Rosa, Caravaggio 

 Francia, the Caracci, Guido Reni 



Squarcione, Andrea Mantegna 



Giovanni Battista Paggi, Bernardo 



Strozzi 

 Dosso Dossi, Lorenzo Costa 



Correggio (Antonio Allegri) 



Claude Lorrain (Gelee), Nicholas Poussin, 



J. L. David, J. A. D. Ingres, Puvis 



de Chavannes 

 Antoine Watteau, J. H. Fragonard, F. 



Boucher, J. B. Greuze, J. S. Chardin 

 T. Ge"ricault, E. Delacroix, J. F. Millet, 



C. Corot, N. V. Diaz, T. Rousseau, 



A. Monticelli 

 G. Ccurbet, J. Bastien Lepage, Benjamin 



Constant, L. Bonnat, Carolus Duran 

 E. Manet, C. Monet, H. G. E. De"gas, 



A. Sisley, F. A. Renoir, Berthe Morisot 

 Paul Cdzanne, Henri Matisse 



Meister Wilhelm, Stephan Loclmer 



Martin Schongauer, Hans Holbein the 

 Elder, Hans Holbein the Younger 



Albrecht Diirer 



El Greco, Diego Velazquez, J. B. del 

 Mazo, J. de Pareja, J. Carreno, Claudio 

 Coello, F. Goya, M. Fortuny 



A. Fernandez, L. de Vargas, F. de 

 Herrera, Alonzo Cano, F. de Zurbaran 

 B. E. Murillo, Valdes Leal 



Rembrandt van Rijn, J. van Goyen, 

 Meindert Hobbema, J. van Ruisdael, 

 P. Potter, A. van der Velde, A. Cuyp, 



F. Hals 



G. Dou, J. Vermeer of Delft, Pieter de 

 Hooch, G. Terburg. Jan Steeu, 

 Adriaen Brouwer 



Hubert and Jan van Eyck, Hans Mem- 

 line, Roger van der Weyden, Quinten 

 Massys, J. Mabuse, Peter Paul Rubens, 

 Antony Van Dyck 



Sir Peter Lely, Sir Godfrey Kneller 



Sir J. Reynolds, T. Gainsborough, G. 



Romney, Sir T. Lawrence 

 T. Hogarth, G. Morland, J. Crome, W. M. 



Turner, J. Constable, J. S. Cotman, 



G. F. Watts, Sir J. Millais, Lord 

 Leighton 



W. Holman Hunt, D. G. Rossetti, 



Sir E. Burne-Jones 

 J. Whistler, J. S. Sargent, F. Brangwyn, 



Augustus John 



Sir Henry Raeburn, Sir D. Wilkie, Sir 

 W. Q. Orchardson, J. Pettie 



W. McTaggart 



Sir J. Guthrie, Sir J. Lavery, George 

 Henry 



failed him, and burst into colour- 

 orchestration by breaking his 

 colour, and making colour utter 

 the mood of the thing desired ; 

 and in the doing he increased the 

 wide gamut of painting to utter the 

 emotions to its supreme capacity. 



Constable, going back direct to 

 nature, and deeply moved by 

 Turner, brought back French 

 painting to life ; and out of him was 

 born the great Romantic School 

 Corot. Daubigny, Millet, Rousseau. 

 England turned back from Turner 

 to the primitive-academism of the 

 pre-Raphaelites, but the revelation 

 of Turner went to France and gave 

 birth to the broken-colour im- 

 pressionism of Claude Monet, 

 Degas, Monticelli, and the rest. 

 Their comrade Manet had taken up 

 mass-impressionism where Velaz- 

 quez and Frans Hals had laid it 

 down, and he added broken-colour 

 to it. His disciple Whistler brought 

 it to England ; and later Sargent. 



Besides fresco, distemper (gum- 

 painting), tempera (egg-painting), 

 oil-painting, encaustic (wax-paint- 

 ing), and pastels, water-colour has 

 also gone through many phases and 

 varied handling, but all are vari- 

 ants of its two essential methods : 

 either the pure transparent use of 

 fluid colour relying on the white 

 ground for the lights; or "gouache," 

 which is water-colour mixed with 

 Chinese white and used solid like 

 oils. 



A most important part of paint- 

 ing is the use of a palette of colours 

 which are permanent in themselves, 

 and have no evil effect upon nor are 

 themselves evilly affected by the 

 others used with them. 



Bibliography. A Concise History 

 of Painting, Mrs. C. Heaton, 1893; 

 The Chemistry of Paints and Paint- 

 ing, A. H. Church, 3rd. ed. 10<>] ; 

 Materials of the Painter's Craft in 

 Europe and Egypt, A. P. Laurie, 

 1910 ; A History of Painting, 

 8 vols., Haldane MacFall, 1911 ; 

 The Technique of Painting, C. 

 Moreau-Vauthier, 1912 ; The Pig- 

 ments and Mediums of the Old 

 Masters, A.P.Laurie, 1914; Modern 

 Movements in Painting, C. Marriott, 

 1920. 



Pair of Spectacles, A. Fan- 

 tastic comedy founded by Sydney 

 Grundy on Les Petits Oiseaux of 

 Labiche and Delacour. It was 

 produced, Feb. 22 ? 1890, at the 

 Garrick Theatre, London, where it 

 attained a run of 335 performances. 

 The story tells how the trusting and 

 unsuspicious Benjamin Goldfinch, 

 by losing his own spectacles and 

 borrowing those of his brother 

 Gregory, a hard suspicious man. 

 borrows also for a time his brother's 

 character. John Hare played Ben- 

 jamin Goldfinch and Charles Groves 

 Gregory Goldfinch. 



