ART MASTERPIECES

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TH^ N4CnONALGALLERY^^ LONDON

Art Masterpieces of

THE NATIONAL GALLERYLONDON

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The majestic NeoPalladian facade of the NationalGallery which graces the north side of London'sTrafalgar Square is not only one of the city's best-known landmarks, but also houses one of theworld's greatest art collections. Indeed, for manyvisitors the National Gallery is one of the majorattractions of this great capital city.

Other galleries throughout the world mayhave much larger collections, and some may havemore extensive coverage of particular periods inthe history of art. but none can match the NationalGallery for its comprehensive collection of OldMaster paintings covering evei\v period in artfrom the 13th to the end of the 19th century.Whilst the total collection only numbers some2050 paintings, the gallery is probably unique inthe world in that all the works in its possessionare usually on show to the general public.

To choose a selection of paintings to representthis wonderful collection is no easy task. It ishoped, however, that the superb reproductions inthis volume will serve as a lasting souvenir forthose who have been fortunate enough to visitthe gallery and will serve as a foretaste of thetreasures it contains for those who intend to do so.

Art Masterpieces of

THE NATIONALGALLERYLONDON

Designed and Produced by

TED SMARTand

DAVID GIBBON

CRESCENT

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INTRODUCTIONFor millions of Londoners as well as for visitors, both from other parts of Britain and the ever-increasingnumbers from the rest of the world, one of the best-known landmarks of the capital is the National Galler\-. Withits neo-Palladian facade gracing the north side of Trafalgar Square, it looks out towards Nelson's Column andAdmiralty Arch and the majestic sweep of Whitehall - a scene that has changed little since the building wasformally opened in 1838.

It is probable that few of the visitors who come to view the superb amassment of pictures which is housedhere, in the oldest of London's great national collections, realise that there was a great deal of opposition to theestablishment of a National Museum of Art when the idea was first mooted towards the end of the 18th century.Even the eminent English landscape painterJohn Constable, some of whose best-known works are now housedin the gallery, was firmly against the idea and the government of the day also showed little interest. This despiteother galleries being already established in Vienna, Paris, Amsterdam, Madrid and Berlin and disregarding thefact that the nucleus of a collection had been offered to the nation by Sir George Beaumont in 1823 -oncondition that a suitable building was found in which to house the paintings.

It was not until the following year - 1824 - that the government finally decided to act and this was onlybecause it was discovered that the Prince of Orange was on the point of finalising the purchase of an extensivecollection owned byjohnJulius Angerstein, a Russian-bom financier who had recently died.

Influenced by this, and a growing national feeling that the leading world power of the time should have anational gallery to rank with the rest ofEurope, the House ofCommons voted to allocate the sum of;(^60,000 forthe purchase of the Angerstein collection, together with the lease of his house at number 100, Pall Mall. TheAngerstein pictures were joined there by those included in Sir George Beaumont's previous offer together with asimilar bequest from the Reverend Holwell Cam

By 1831 the need for a permanent purpose-built gallery' in which to house the rapidly growing collection wasevident. In that year William Wilkins' design was accepted and work began in 1833 on the site in TrafalgarSquare. This was not before time, as 7\ngerstein's house was in imminent danger of collapse and the collectionhad to be moved to an even more cramped location at number 105, Pall Mall.

As soon as the new gallery was opened, in 1838, problems became evident. The design of the building wassuch that there was insufficient space for all the paintings. Extra room was provided in 1876 by the building of anew wing designed by SirJames Barr\' and this, together with fijrther building work carried out in 1887 and theaddition of another wing to balance Barr\^s, completed in 1911, helped to alleviate the problems. These problemshad been fiirther aggravated by the purchase of 76 pictures fi^om the Peel collection, and the W>Tin Ellis bequestof 1876 which, whilst providing the gallery with a good representation ofDutch pictures, created fiarther storageproblems.

Whereas most of the world's other galleries were originally founded on a royal collection the NationalGallerv' is unique in that its pictures have been collected over the years by purchases on the open market or bybequests from private individuals. Lack of space was not the only problem with which the Keeper and his six-man committee were confi"onted during the early years. Not only was the choice of acquisitions - which was verymuch according to personal taste - criticised, but the policy of cleaning picmres also caused an outer}' among apopulation used to seeing Old Masters covered in dirt and layers of discoloured varnish. In order to resolvethese problems an enquir\' was held in 1853 and the constitution of the galler\' was revised. .\n annual purchasegrant was allocated in 1855 and Sir Charles Lock Eastlake was appointed the first Directoi; with soleresponsibility for choosing and acquiring new paintings.

It was subsequendy decided that the gallerv' should be as comprehensive in its coverage of the great periodsof art as possible, and whilst many other galleries throughout the world may hold a better selection relating toparticular periods, none can match the National Gallery's collection of 2,050 works, predominandy Old Masters,covering all periods.

As a result of the decision to make the National Galler\^s collection as comprehensive as possible, nearly allthe British paintings were moved to the Tate Galler\- at Millbank, which was opened in 1897 to house these andmodem foreign works.

During the 19th centur\ it had been possible for the Galler\' to acquire many fine paintings at relatively lowcost but circumstances began to change and the increasing competition from other galleries, in America andGermany particularly, has made it much more difficult to purchase fine paintings, which now fetch record priceson the world's art market.

In 1975 the opening of the northem extension enabled the gallery's administration to hang the collection inmore spacious and restful surroundings, thus adding to the visitor's enjoNTiicnt.

In addition to housing the paintings, the gallerv also carries out its own rcstorafion work, both of picturesand frames, and with its special exhibitions and projects designed expressly for children it has done much tomake art more acceptable and understandable to the general public.

At// is shown a detail from 'The Mvstic Nativity'bySandro Botticelli (c. 1445-1510).

Duccio di Buoninsegna (about 1255-about1318), the first great painter ofthe Sieneseschool, is particularly noted for his purity ofline and colour

'The Annunciation' above is one ofthreepredella panels in the gallery forming part ofthe 'Maesta', Duccio's masterpiece, effectedfor the High Altar ofSiena's Cathedralbetween 1308 and 1311.

Most of the early works by Italian painters,particularly those of the Sienese school, werecommissioned by churches and inconsequence are essentially religious insubject.

'The Virgin and Child with Saints' /f^is aft^irther exquisite example ofDuccio'srefinement of stvle and is part ofa triptychprobably painted before 1308.

Pisanello (Antonio di PuccioPisano) (about 1395- 1455) wasgreatly admired during his lifetimefor his meticulous attention todetail and superb drawing, whichprovides some magnificentexamples ofpainting during theItalian Renaissance.

'The Vision ofSt Eustace', adetail ofwhich can be seen rightscontains elements fi-om theInternational Gothic st\'le andalthough familiarly thought to bethe figure of St Eustace, it hasbeen argued that it was possiblythat ofSt Hubert. This resultsfi-om the fact that both saints weresaid to have been converted toChristianity' under similarcircumstances, in that each had avision ofthe Crucifixion whilstout hunting.

The predella panel ft-om analtarpiece belowis the work of theearlv Italian painter Giovanni diPaoio(c 1403-1482).

The wing ofa tnptvch left, called'StJohn The Baptist and StJerome', is ascribed to Masolinoda Panicale (c 1383-after 1432),whose work was closely associatedwith that ofMasaccio.

Fra Angelico (Guido di Pietro)(before 1400?-1455) was a deeplyreligious man whose compassionand gentieness is clearlyrecognisable in his art. 'ChristGlorified in the Court ofHeaven'belowis the centre panel of thepredella from an altarpiece paintedcl435.

'The Annunciation' ahorce right isthe work ofFra Filippo Lippi(about 1406-1469). A member ofthe Carmelite Order ofMonks,until he was released from hisvows to many- a nun, he was muchpatronised by the powerful Medicifamily.

Paolo Uccello (P di Dono)(c 1397-1475) worked mainly inFlorence and entered thePhysicians Guild ofFlorence in1415. A painter who was greadyinterested in perspective, his ownparticular st\ le is evident in'Niccolo Mauruzi da Tolentino atthe Battie ofSan Romano' right.

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'The V irgin and Child w ith the Magdalen and StJohn the Baptist' above is an altarpiece painted on canvas by Andrea Mantegna(c 1430/31-1506). Vox many years this brilliant artist was Court Painter to the Gonzaga family at Mantua.

Ascribed to the brothers Antonio and Piero del Pollaiuolo (c 1432-1498 & c 1441-1496) the altarpiece The Martyrdom ofSt Sebastian'n?A/ was commissioned by the Pucci family for the Oratory ofS. Sebastiano attached to the church of the SS. Annunziata in Florence.

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'A Concert' top leji is an early workon wood bv Lorenzo Costa(c 1459/60-1535) ofthe Ferrareseschool.

Piero della Francesca (after1420-1492) was a Tuscan whoseearly work ab

'The Wilton Diptych' (c 1395 or later)above and above left is attributed to theFrench school, although itsInternational Gothic stvle precludesany final hypothesis on the subjectThe diptv'ch depicts 'Richard IIPresented to the Virgin and Child byHis Patron Saints' but little is knownabout the circumstances or date of itsexecution, or the artist's nationality.

Although the 'Virgin and Child withan Angel, St George and Donor' left issimilar to the centre panel ofHansMemlinc's (active 1465 died 1494)'The Donne Triptych', the qualit> ofthe work is inferior and wouldtherefore appear to be the work of hisSnjdio, rather than ofthe painterhimself

'A Woman' nght\^ one ofa pair ofcompanion portraits ofa man and awoman, ascribed to Robert Campin(c 1378/79-1444), who worked inToumai from 1406 and is presumed tohave been of Memish origin.

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The \moIfini Marriage' below, byJan van Eyck (active 1422 died 1441), is indicative ofthe artist's love ofrich colour anddetailed intricac>-. The founder ofthe Bruges school, he was also Court Painter to Philip the Good, Duke ofBurgundy.

The portrait of'A Little Girl' nght is diought to beJacqueline, the daughter ofapatron ofthe artistJan Gossaert, called

Mabuse(c 1478-1532).

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'The Adoration ofthe Kings' above is a further painting, on oak, byJan Gossaert, and is beheved to ha\ c been painted after c 1500.

Hieronvmus Bosch (about 1450-1516), an outstanding innovator amongst Hemish artists, is probably most widely known tor hispaintings depicting macabre and illusory situations, and whilst the majonty of his work is of a religious nauire, see t(/p rf?/;/ 'ChristMocked', the flill scope of his onginality is clearly discernible in all his art.

The painting on canvas by Bartholomaeus Spranger (1546-1611) above right, entitled The Adoration ofthe Kings' was executed whilsthe was in the service ofthe Hapsburg Emperors, c 1595.

Pictured nght is an unconventicmal representation of 'The Adoration of the Kings', byJan Brueghel I (1568-1625), the son of PieterBrueghel the Elder.

Lucas Cranach the Elder(1472-1553), considered to be themost talented painter of theGerman Reformation, was also aclose friend ofMartin Luther,whom he met in Wittenburg. Hisuse of pale colours highlightingthe delicate, stviised forms isbeautifijlly illustrated in 'CupidComplaining to Venus' abonx left.

The portrait above is believ ed tobe that of'St Ivo', and possibly apanel from a diptych or similarstructure. It was painted by Rogiervan der Weyden (1399-1464),'who was a notable pupil ofRobertCampin at Toumai, between1426-32.

'The Ambassadors' left waspainted by Hans Holbein theYounger (1497/8-1543) anddepicts the French Ambassador,Jean de Dintev ille and his friend,Georges de Selve, Bishop ofLavour.

Of all the great artists of dieGerman school, Albrccht IXirer(1471-1528) was undoubtedlysupreme. This man of genuis wasalso a pnntmaker, goldsmith, andauthor of various artistic treatises.'The Painters Father' n^htxsascribed to his name.

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Raphael (RafFaello Santi) (c1483-1520) died in Rome aged 37and die tragic, early deadi of thissensitive artist was a loss ofmagnitude to the world of art. Acontempor\ ofda Vinci andMichelangelo, by whom he w asgreatly mfluenced, he had, b\ theage of 28, already establishedhimselfas a serious ri\ al to bothofthese great men. Two of hiscelebrated works can be seenah(K-e, 'St Catherine ofAlexandria'and aborvelefi, 'PopeJulius IF.

The delicate, moving work of'The \'irgin and Child with St.'Vnne and StJohn the Baptist' rigkis indicative of the aesthetic andartistic brilliance of the executor,Ixonardo da \'inci (c 1452-1519).This accomplished man was apainter, architect, sculptor andmilitary engineer, whose legacy tothe world includes thousands ofdrawings and notebooks, whichrecord both his scientific andartistic experiments. 'The \ irgin(or Madonna) of the Rocks' lcfi'\sone of two versions, one ot whichis contained in the Gallcr\ and thelother in the I .ouvre in Parts.

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The embodiment of spiritual lo\ eis shown in the early work b\Antonio Allesri da Correggio(c 1489/94-1534) above leftm his'Mercun, Instructing Cupid beforeVenus' ("The School of Love").

One of the most celebratedPortraitists of his day, theFlorentine painter, AgnoloBronzino (c 1503-1572) was alsoan exponent ofMannerist art. Hispanel painting, '.^n Allegor\', isshown ahave.

-Michelangelo Buonarrotti(c 1475-1564) painter, sculptor,and architect, was a brilliant manwho became a legend in his ownlifetime. His respect for antiquirvis readily discernible in hissupreme achie\ ements and,although The Kntombment', anunfinished work lefi, is believed tobe that of the great artist, itsattribution has been questioned.

'The Raising of La/arus' n^htvizsexecuted by Sebastiano Lucianicalled Sebastiano del Piombo(c 1485-1547), of the Venetianschool.

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Parmigianino, a Parmesan painter of great importance, alsopainted 'The Mystic Marriage of St Catherine' ahcrce.

Titian (Tiziano VeceHio) (about c 1487/90-1576) was bomPieve di Cadore and with his tremendous artistic capacitywhich he developed over the years, the Venetian Renaissanceachieved its pinnacle ofperfection. Two of his greatmasterpieces can be seen in the 'Portrait ofa Man' helorv znd'Bacchus and Ariadne' above nght.

'The Story ofAristaeus' below right '\s ascribed to Niccolo dell'Abate (c 1509/12-1571), who was originally from Modena.

'Madonna and Child with StJohn the Baptist and StJerome'abf/ve'is an altarpiece by Parmigianino (Girolamo FrancescoMaria Ma/zola) (c 1503-1540).

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The 'Holy Family with the InfantBaptist" leftv,zs painted by one ofthe most important artists of theperiod, Federico Baroccio(c about 1535-1612), from Urbino.

Veronese (Paolo Caliari)(1528-1588), a contemporary ofTintoretto, was one ofthe mostprolific decorators of his period,when established in Venice. Theartist's preoccupation with colourand texture resulted in asumptuousness beloved byVenetian taste, which is evident inhis superb rendering of'TheFamily ofDarius beforeAlexander" aborve.

One of the leading \ enetian artistsof his dav,Jacopo Tintoretto0518-1594) executed The Originofthe Milky \\a>^ nv^ht, mostprobably dunng the late 1570's.The milk which was spilled fromthe breasts ofjuno when I lerculcs"mother, AlcTnene, anempted toimmortalise the infant, is said tohave been the oriein of the 'Milkv\\a\'.

Bom in Utrecht, where he studiedunder Bloemaert, Gerrit vanHonthorst (c 1590-1656) was ahighly regarded portrait painter ofhis time, and his 'Christ before theHigh Priest' left, became one ofthemost renowned paintings inRome.

The early work ofHendrickAvercamp (c W85-1634), 'AWinter scene with skaters near aCasde' right, is typical ofthe winterlandscapes for which he isfamous.

Frans Hals (c 1581/5-1666), anoutstanding portrait painter ofthenew Dutch Republic, introducedan entirely new st\le, which was topave the way for a franker andmore natural approach to portraitpainting. 'Family Group in aLandscape' belowis a superbexample of his work.

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Rembrandt (Hanmensz van Rijn) (1606-1669), the son ofa rich Leyden miller, studied under Pieter Lastman in Amsterdam andbecame one of the most outstanding and accomplished artists ever to rival any ofthe great masters. His sense ofdrama and superbmasterv ofchiaroscuro combine to produce a passionate realism which radiates from all his paintings.

The portrait ^iMv'Hendrickje Stoffeis' and the 'Self-Portrait aged Sixty-three' left, are indicative of his magnificent brushwork anddepth ofcolour.

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'Belshazzar's Feast' above and 'AWoman Bathing in a Stream' lefiare two further outstandingexamples showing the rich quaHtyofRembrandt's work.

Jan van Cappelle (c 1623/25-1679) belonged to a group ofNetherland landscape artists,originating in the 17th centurv, inHaarlem, who specialised inseascapes and more specifically inmarine subjects. The soft, sombrehues, beautifijlly illustrated in his'A Shipping Scene with a Dutch^acht firing a Salute' ahovc nght,are in direct contrast to the highlycoloured works of the earlierDutch masters.

T\pical of Italianistic landscapesof the period, diffijsing quiet,gende tones across the canvas, is'A Rocky Landscape with anOx-cart' nght, painted bvjan Both(cl618.'-1652).

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The careful precision ofthe work ofjohannes Vermeer (c 1632-1675), which can be seen above in 'Young Woman standing at aVirginal', has been compared to a photographic reproduction, and the implication follows that he might possibly have used somemechanical aid, such as a camera obscura, for achieving his end results.

One ofthe most skilflil landscape artists ofhis generation, Aelbert Cuyp (c 1620-1691) was gready influenced by the use of lightimbued in the paintings ofboth Rembrandt and Claude. 'A Hilly River Landscape' above right includes the artist's penchant for a herd ofcatde set before a distant scene, preferably that of his home town, DordrechL

.Meyndert Hobbema (c 1638-1709) was a pupil ofjacob van Ruisdael, and although a superb draughtsman, his specialist activitieswere confined within somewhat narrow lines. However, his most famous landscape, 'The Avenue, Middelhamis' nght is amagnificent example of his ability to capture, on canvas, with precision, all the freshness that his clarity ofvision beheld.

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Peeter Pauwel Rubens (c 1577-1640) was a genius whose talents combined to make him one of the most justly revered of all painters.This incredible man was also a devout Catholic and he produced a prolific number ofworks for churches and palaces throughoutEurope. \V hilst his traditionalist s\-mpathies are evident in his compositions, the dniamism and drama are also clearly visible and thisin turn evokes a feeling ofenthusiasm so obviously felt by this great artist.

Three examples can be seen here showing the accomplished diversity of his talents: 'Thejudgement ofParis' above left, 'AutumnLandscape with a \iew ofHct .Steen' A//and 'Susanna I.undcn, "Le Chapeau dc Paille"' ahrve.

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.\nthony van EHxk (c 1599-1641),although influenced early in hiscareer by Rubens, later developeda quieter and more refined st\lewhich in turn was to have aprofound effect on portraitpainting in England, lasting untilthe end ofthe 18th centur\. He wascourt painter to Charles I, bywhom he was knighted in 1632,and the 'Equestrian Portrait ofCharles V nght, is one of his mostcelebrated works. Anotherexquisite example can be seen leftin 'A Woman and Child', showingthe rich attire ofthe Cavaliercourt.

The portrait above left is of'Govaert van Surpele and hisWife', executed byJacobJordaens(c 1593-1678), who became, afterthe demise ofRubens and vanD\'ck, the most celebrated figurepainter ofthe southernNetherlands.

'A Boy Aged Eleven' abaiv is alovely example ofthe work ofportrait and figure painterjacobvan Oost I (1601-1671).

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Fhe most eminent of all Spanishartists, Diego Rodriguez de Silvay Velazquez (c 1599-1660) wasbom and trained in Seville andover the years his developmentsand achievements werephenomenal. The only sur\ ivingpainting of a female nude byVelazquez is 'The Toilet ofVenus,"The Rokeby Venus"' ahave, andright'xs shown a detail from'Kitchen Scene with Christ in theHouse ofMartha and Mary'.

One ofthe most influential Itahanartists of the 17th century,Michelangelo .Merisi deCaravaggio (c 1573-1610), was acontroversial figure who wasconstantly invoking the wrath oflaw and authority. His dramaticwork, however, bears the stamp oforiginality and this is superblyrefleaed in 'The Supper atEmmaus' shown ahair left.

Nicolas Poussin (c 1594-1665)was a man of high intellect whoserange encompassed a rich varietyofsubjects. \\ Bacchanalian Revel'lefih believed to have beenpainted during the latter part ofthe 1630's.

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One ofthe few signed works by\ elazquez, 'Philip r\' ofSpain inBrown and Silver' is shown akrvfleft.

The representation of 'StMargaret" as a shepherdess abovewas executed by the Spanish artist,Francisco de Zurbaran(c 1598-1664).

Although El Greco (DomenikosTheotokopoulos) (c 1541-1614)was bom in Crete, his was thegenius which founded Spain as anartistic centre. One of hismagnificent paintings can be seen/t^ 'Christ driving the Tradersfrom the Temple'.

Most ofthe work ofBartolomeEsteban Murillo (c 1617-1682) ismainly religious in essence and'The Two Trinities' ("ThePedroso Murillo") right '\s from thecollection of the Marques delPedroso.

Giovanni Battista Pittoni (c 1687-1767) was one ofthe foremosthistorical artists ofhis era and'The Nativity with God the Fatherand the Holy Ghost* above left is anexcellent example of his work.

A leading decorative painter oftheperiod, whose painting of'Bacchus and Ariadne' is shownabove, was Sebastiano Ricci(c 1659-1734), bom at Belluno.

'A Caprice with Ruins on theSeashore' left executed byFrancesco Guardi (c 1712-1793),is a beautifijl example oftheartist's delicate use ofcolour andwhose success lay largely in hismagical paintings ofVenice.

One of the most commerciallysuccessful painters of his time,Canaletto (Giovanni AntonioCanale) (1697-1768), wasparticularly popular with Englishvisitors to Venice. Two of his fineVenetian views can be seen, abmrn^/r/'Campo St Vidal and StMaria dclla Carita' (TheStonemason's Yard') and right'The Basin ofSt Marco onAscension Day*.

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'Manon Balletti' left\s the work ofJean-Marc Nattier (c 1685-1766),a fashionable portrait painter atthe court ofLouis XV.

The delicate, ethereal settingsbeloved byJean-Antoine Watteau(c 1684-1721), an example ofwhich can be seen right in a detailfrom 'La Gamme d'Amour", arepoignant reminders oftheuntimely death ofthis romanticartist, at the age ofthirty-seven.

Inspired by Watteau andsubsequendy one ofthe morenotable ofthe 'fetes galantes'painters, was Nicolas Lancret(c 1690-1743), whose charmingpainting of 'A Lady andGendeman with Two Girls in aGarden' ("La Tasse de Chocolat")is shown below.

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The exquisite 'Landscape with aWatermiir above leftis thebrushwork ofFran9ois Boucher(1703-1770), an indefatigable andgifted artist, who became 'FirstPainter to the King' under LouisXV.

Claude-Joseph Vemet (c 1714-1789), a member of the Academicat Paris, was also the foremostlandscape and marine painter ofthe period. 'A Seashore' leftwas

painted in 1776 for the Comte deLuc.

The distinguished artist GeorgeStubbs(c 1724-1806) is bestknown for his superb paintings ofhorses. 'The Milbanke andMelbourne Families' above showshis acute powers ofobservationand meticulous attention to detail.

William Hogarth 0697-1764) isoften referred to as the 'Father ofEnglish Painting' and as a productofthe 'Age of Reason' his workfrequently reflects his moralattitudes to society' in the new era

ofenlightenment The delightfiilportrait nght is entided 'TheShrimp Girl'.

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Thomas Gainsborough (c 1727-1788) is a name synonymous with18th century portraiture andtogether with his contemporaryand rival, SirJoshua Reynolds, heproduced for English society aplethora of'likenesses' for whichboth were handsomely rewarded.'The Morning Walk' rightand 'Mrand Mrs Andrews' above show theartist's delight in portraying thenaturalness of his subjects, whichalso embraces an elegance ofattire, set against tranquil,Georgian backgrounds.Gainsborough's love for thesensuality ofmusic, rather than anintellectual leaning towardsliterature, is often stronglyreflected in the many magnificentexamples of his work.

Landscape painting, however, washis first love and his charming,idyllic scenes, such as the exquisite'The Watering Place' left, showperfect rural settings and theharmony between man and nature.

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SirJoshua Reynolds (c 1723-1792) has already been mentionedas an outstanding 18th centurypainter, and he was appointedPresident ofthe Royal Academyon its foundation in 1768. Thepainting above left of''General SirBanastre Tarleton' is a fine

portrait by this eminent artist.

The infant prodigy Sir ThomasLawrence (c 1769-1830) paintedthe full-length portrait of'QueenCharlotte' shown above.

'The Duke ofWellington' n^Aristhe work ofthe incomparableFrancisco de Goya (y Lucientes)(c 1746-1828). This man ofgenius, whose ability to portraythe human condition beyond thelimitations oftime and situationand whose work still continues toinspire, was tragically struck deafby a severe illness in 1792.

A further outstanding painting byHogarth is 'The Countess'sMorning Levee' lefi, one of aseries entitled 'Marriage a la

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'The Ha\"wain' left, one ofthemost famous of all the paintingsbyjohn Constable (1776-1837),was exhibited at the Paris Salon in1824 where it was met byrapturous applause, and Constablewas awarded a gold medal byCharles X. 'Salisbury Cathedraland .Archdeacon Fisher's House'above left, a fijrther work by thisy:reat and gifted artist shows thebrilliant use of his brokenbrushwork, which, throughDelacroix, was to gready influenceKuropean art.

Joseph .Vlallord William Turner(c 1775-1851), a magnificent 19thcenturv' painter of nature, wasfascinated by the emotional effectof light, which featuressignificandy in all his paintings.His canvasses glow with colourand are seen to perfection in both'Rain, Steam, and Speed - TheGreat Western Railway' nght, and'The Fighting Temeraire' ahair.one of his most spectacular works.

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The artistic movement originating in Paris, in the 1860's,and known as 'Impressionism' was based on the artisticpremise that it was possible to capture, on canvas, thenatural and spontaneous feeling or 'impression' evokedby the landscape.

Claude-Oscar Monet (c 1840-1926), considered to be themost gifted in the field oflandscape painting, used lighterand bolder colours to convey the emotional freshness ofthe scene. 'The Water-Lily Pond' above is one ofa seriesof the artist's garden at Givemy, whilst left is shown adetail from 'The Beach at Trouville'.

douard Manet (c 1832-1883), who was particularlyinfluenced by Goya, was the most conservative memberofthe movement 'The Waitress', a detail ofwhich can beseen nght, is on two pieces ofvertically joined canvas.

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First published in Great Britain 1978 by Colour Library International Ltd.Illustrations reproduced by courtesy ofthe Trustees, The National Gallery, London.

Colour Separations by La Cromolito, Milan, Italy.Display and text filmsetting by Focus Photoset, London, England.

Printed and bound by L.E.G.O. Vicenza, Italy.Published by Crescent Books, a division ofCrown Publishers Inc.

All rights reserved.

Library ofCongress Catalogue Card No. 78-59629CRESCENT 1978

I

Further titles in theArt Masterpiece Series

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