The Museo Lázaro Galdiano of MadridAuthor(s): Walter W. S. CookSource: Art Journal, Vol. 21, No. 3 (Spring, 1962), p. 175Published by: College Art AssociationStable URL: http://www.jstor.org/stable/774418 .

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work of a well-known artist should be evaluated on the basis of his accomplishments. The donors took the same position. After a year's delay, while Lebrun was at Yale, the president and trustees agreed to give the artist a free hand.

work of a well-known artist should be evaluated on the basis of his accomplishments. The donors took the same position. After a year's delay, while Lebrun was at Yale, the president and trustees agreed to give the artist a free hand.

work of a well-known artist should be evaluated on the basis of his accomplishments. The donors took the same position. After a year's delay, while Lebrun was at Yale, the president and trustees agreed to give the artist a free hand.

The designs were completed during 1959-1960, while Lebrun was at the American Academy in Rome. The architect, John Rex, prepared the wall in Frary Hall and in the Fall of 1960 the painting was begun in situ.

The designs were completed during 1959-1960, while Lebrun was at the American Academy in Rome. The architect, John Rex, prepared the wall in Frary Hall and in the Fall of 1960 the painting was begun in situ.

The designs were completed during 1959-1960, while Lebrun was at the American Academy in Rome. The architect, John Rex, prepared the wall in Frary Hall and in the Fall of 1960 the painting was begun in situ.

THE MUSEO LAZARO GALDIANO OF MADRID THE MUSEO LAZARO GALDIANO OF MADRID THE MUSEO LAZARO GALDIANO OF MADRID

Among the great museums of Europe, the Museo Lazaro Galdiano is still very new. Yet since its formal opening in 1951, it has rapidly come to be recognized as one of the best not only of Spain but of the Western world. With the main floor remaining much as when Sr. Lizaro lived there, in its elaborate decoration with ceilings by Lucas Villaamil, his treasures are suitably and attractively housed. Mean- while the scholarly work goes forward of clas- sifying, arranging and studying the incredible number of masterpieces amassed by Sr. Lazaro, as well as of incorporating more recent acquisi- tions into the collection.

On the ground floor, it will be recalled, typical examples are displayed of ivories and enamels of various periods and techniques, both sacred and secular, probably the richest collection in Europe especially in Byzantine. These are followed by jewels and altar fittings, mostly Gothic, of which several are famous. Additional rooms are given over to other pe- riods in historical sequence. The art of the Italian Renaissance includes a number of im- portant small bronzes, works by many of the great masters such as Giovanni Bologna or Sansovino: fifteenth and sixteenth century sculpture is rather rare in Spanish museums.

Paintings are placed on the second floor. Spain is fortunate in owning numerous fine Flemish Primitives by most of the known ar- tists, and of high quality. The collection of Spanish Primitives, the best in Madrid, is also representative as are those of the later pictures of Spain and the Netherlands, especially of the seventeenth century.

The many handsome paintings of the British School-not too plentiful in Spain-are di- vided between the second and third floors. Reyn- olds, Gainsborough, Lawrence, Romney, Rae- burn, also Gilbert Stuart, are represented by characteristic portraits for the most part. An interesting portrait gallery features many well- known personalities, chiefly from the nine- teenth century. The miniature portraits, too, are outstanding, especially the sixteenth and seventeenth century examples, not only artisti- cally but also because of the historic subjects depicted.

On the third floor are hung additional early Spanish paintings mostly of the fifteenth cen- tury, later Netherlandish, and Spanish of the Golden Age,-Zurbaran, Ribera, El Greco, Murillo, Velazquez,-and Goya, to whom a room is dedicated. The fine drawings are on display. Almost every artist who made his mark in the annals of Spanish painting is included.

Among the great museums of Europe, the Museo Lazaro Galdiano is still very new. Yet since its formal opening in 1951, it has rapidly come to be recognized as one of the best not only of Spain but of the Western world. With the main floor remaining much as when Sr. Lizaro lived there, in its elaborate decoration with ceilings by Lucas Villaamil, his treasures are suitably and attractively housed. Mean- while the scholarly work goes forward of clas- sifying, arranging and studying the incredible number of masterpieces amassed by Sr. Lazaro, as well as of incorporating more recent acquisi- tions into the collection.

On the ground floor, it will be recalled, typical examples are displayed of ivories and enamels of various periods and techniques, both sacred and secular, probably the richest collection in Europe especially in Byzantine. These are followed by jewels and altar fittings, mostly Gothic, of which several are famous. Additional rooms are given over to other pe- riods in historical sequence. The art of the Italian Renaissance includes a number of im- portant small bronzes, works by many of the great masters such as Giovanni Bologna or Sansovino: fifteenth and sixteenth century sculpture is rather rare in Spanish museums.

Paintings are placed on the second floor. Spain is fortunate in owning numerous fine Flemish Primitives by most of the known ar- tists, and of high quality. The collection of Spanish Primitives, the best in Madrid, is also representative as are those of the later pictures of Spain and the Netherlands, especially of the seventeenth century.

The many handsome paintings of the British School-not too plentiful in Spain-are di- vided between the second and third floors. Reyn- olds, Gainsborough, Lawrence, Romney, Rae- burn, also Gilbert Stuart, are represented by characteristic portraits for the most part. An interesting portrait gallery features many well- known personalities, chiefly from the nine- teenth century. The miniature portraits, too, are outstanding, especially the sixteenth and seventeenth century examples, not only artisti- cally but also because of the historic subjects depicted.

On the third floor are hung additional early Spanish paintings mostly of the fifteenth cen- tury, later Netherlandish, and Spanish of the Golden Age,-Zurbaran, Ribera, El Greco, Murillo, Velazquez,-and Goya, to whom a room is dedicated. The fine drawings are on display. Almost every artist who made his mark in the annals of Spanish painting is included.

Among the great museums of Europe, the Museo Lazaro Galdiano is still very new. Yet since its formal opening in 1951, it has rapidly come to be recognized as one of the best not only of Spain but of the Western world. With the main floor remaining much as when Sr. Lizaro lived there, in its elaborate decoration with ceilings by Lucas Villaamil, his treasures are suitably and attractively housed. Mean- while the scholarly work goes forward of clas- sifying, arranging and studying the incredible number of masterpieces amassed by Sr. Lazaro, as well as of incorporating more recent acquisi- tions into the collection.

On the ground floor, it will be recalled, typical examples are displayed of ivories and enamels of various periods and techniques, both sacred and secular, probably the richest collection in Europe especially in Byzantine. These are followed by jewels and altar fittings, mostly Gothic, of which several are famous. Additional rooms are given over to other pe- riods in historical sequence. The art of the Italian Renaissance includes a number of im- portant small bronzes, works by many of the great masters such as Giovanni Bologna or Sansovino: fifteenth and sixteenth century sculpture is rather rare in Spanish museums.

Paintings are placed on the second floor. Spain is fortunate in owning numerous fine Flemish Primitives by most of the known ar- tists, and of high quality. The collection of Spanish Primitives, the best in Madrid, is also representative as are those of the later pictures of Spain and the Netherlands, especially of the seventeenth century.

The many handsome paintings of the British School-not too plentiful in Spain-are di- vided between the second and third floors. Reyn- olds, Gainsborough, Lawrence, Romney, Rae- burn, also Gilbert Stuart, are represented by characteristic portraits for the most part. An interesting portrait gallery features many well- known personalities, chiefly from the nine- teenth century. The miniature portraits, too, are outstanding, especially the sixteenth and seventeenth century examples, not only artisti- cally but also because of the historic subjects depicted.

On the third floor are hung additional early Spanish paintings mostly of the fifteenth cen- tury, later Netherlandish, and Spanish of the Golden Age,-Zurbaran, Ribera, El Greco, Murillo, Velazquez,-and Goya, to whom a room is dedicated. The fine drawings are on display. Almost every artist who made his mark in the annals of Spanish painting is included.

Museo L6zaro Galdano, Madrid. Fan Collection. Museo L6zaro Galdano, Madrid. Fan Collection. Museo L6zaro Galdano, Madrid. Fan Collection.

The eighteenth century elsewhere is not forgot- ten. Magnasco, Guardi, Tiepolo, are here, and Houdon's delightful head of little Sabine. The Spaniards were under French influence to some extent at this period, a trend illustrated by Paret. The nineteenth century as well makes a very good showing, particularly the Spanish School.

The fourth floor, formerly the library, is now devoted to the field of industrial and dec- orative arts. With suitable and tasteful installa- tions, the choice examples can at length be ar- ranged in a fashion which does them justice.

Textiles, chiefly of silk and wool, have al- ways held an important place in the Spanish economy and regulations governing their man- ufacture are known from the early thirteenth century on. While Flemish influence seemed dominant especially in the fifteenth century, those of Italy, Sicily, and France were also strong. The Museo Lazaro is fortunate in own- ing a very valuable collection of fabrics, many from the workshops of Toledo or Guadalupe, in which intricate designs or religious scenes are woven as in the panels of the Four Evan- gelists. No doubt the master weavers were of- ten of Islamic affiliations. Moslems seem early to have had a keen appreciation for fine tex- tiles and their craftsmen attained to a high de- gree of skill therein. Wherever they were in the majority, a distinct difference in the design may be noted. The figural scenes are replaced by stylized animals or flowers or the Tree of Life, accompanied at times by ornamental let- tering such as a sura from the Koran in Cufic. Andalucia and Granada were famous; but out- standing were the cities of Almeria, Cordoba, and Malaga for the rich silks interwoven with gold.

WALTER W. S. COOK

The eighteenth century elsewhere is not forgot- ten. Magnasco, Guardi, Tiepolo, are here, and Houdon's delightful head of little Sabine. The Spaniards were under French influence to some extent at this period, a trend illustrated by Paret. The nineteenth century as well makes a very good showing, particularly the Spanish School.

The fourth floor, formerly the library, is now devoted to the field of industrial and dec- orative arts. With suitable and tasteful installa- tions, the choice examples can at length be ar- ranged in a fashion which does them justice.

Textiles, chiefly of silk and wool, have al- ways held an important place in the Spanish economy and regulations governing their man- ufacture are known from the early thirteenth century on. While Flemish influence seemed dominant especially in the fifteenth century, those of Italy, Sicily, and France were also strong. The Museo Lazaro is fortunate in own- ing a very valuable collection of fabrics, many from the workshops of Toledo or Guadalupe, in which intricate designs or religious scenes are woven as in the panels of the Four Evan- gelists. No doubt the master weavers were of- ten of Islamic affiliations. Moslems seem early to have had a keen appreciation for fine tex- tiles and their craftsmen attained to a high de- gree of skill therein. Wherever they were in the majority, a distinct difference in the design may be noted. The figural scenes are replaced by stylized animals or flowers or the Tree of Life, accompanied at times by ornamental let- tering such as a sura from the Koran in Cufic. Andalucia and Granada were famous; but out- standing were the cities of Almeria, Cordoba, and Malaga for the rich silks interwoven with gold.

WALTER W. S. COOK

The eighteenth century elsewhere is not forgot- ten. Magnasco, Guardi, Tiepolo, are here, and Houdon's delightful head of little Sabine. The Spaniards were under French influence to some extent at this period, a trend illustrated by Paret. The nineteenth century as well makes a very good showing, particularly the Spanish School.

The fourth floor, formerly the library, is now devoted to the field of industrial and dec- orative arts. With suitable and tasteful installa- tions, the choice examples can at length be ar- ranged in a fashion which does them justice.

Textiles, chiefly of silk and wool, have al- ways held an important place in the Spanish economy and regulations governing their man- ufacture are known from the early thirteenth century on. While Flemish influence seemed dominant especially in the fifteenth century, those of Italy, Sicily, and France were also strong. The Museo Lazaro is fortunate in own- ing a very valuable collection of fabrics, many from the workshops of Toledo or Guadalupe, in which intricate designs or religious scenes are woven as in the panels of the Four Evan- gelists. No doubt the master weavers were of- ten of Islamic affiliations. Moslems seem early to have had a keen appreciation for fine tex- tiles and their craftsmen attained to a high de- gree of skill therein. Wherever they were in the majority, a distinct difference in the design may be noted. The figural scenes are replaced by stylized animals or flowers or the Tree of Life, accompanied at times by ornamental let- tering such as a sura from the Koran in Cufic. Andalucia and Granada were famous; but out- standing were the cities of Almeria, Cordoba, and Malaga for the rich silks interwoven with gold.

WALTER W. S. COOK

IVAN MESTROVIC 1883-1962

(Every Yugoslav knows the sculpture of Ivan Mestrovic-the colossal statue at the Cathedral of Split, the memorial tomb at Cavtat, and many other works. One of the last of the great disci- ples of Rodin, he continued to the last to create sculpture of monumentality and vigor-although it bears little relation to the best of contem- porary work. He is the author of the two eques- trian statues at the entrance to Grant Park, Chi- cago.

Mestrovic came to the United States during World War II, and was welcomed by a large retrospective exhibition at the Metropolitan Mu- seum. After a period of teaching at Syracuse University he came to the University of Notre Dame, where for several years he had been "resident sculptor" and distinguished guest.- ED.)

The sculptor Ivan Mestrovic died on January 16, at the age of 78. "The professor," as every- one called him, finished his regular teaching chores in the Department of Art at Notre Dame on that day. Afterward he felt more weary than usual, so another teacher drove him to his resi- dence not far from the university. In the evening he suffered an attack and was rushed to St. Joseph's Hospital. Shortly after 8 that evening he succumbed to a massive stroke.

A number of books and essays treat of the great and prolific Croatian artist's sculpture, warm with human feeling, strong with sculp- tural volume. The stature and significance of his work will be better resolved in other decades than our own. A fellow-craftsman finds it more natural to speak of another side of Ivan Mestro- vic-his personal one. Through fully sixty years of his life much has been said and written about his scultpure. But Mestrovic the man evades notice and print.

The artist was a small, stocky man, handsome of face with regular, clean-boned features, sharp black eyes and a full black beard. A black beret was so much with him, day and night, in the studio and at home, that it becomes an insepara- ble part of one's recollections of him. He pre- sented a fine appearance and was equally at home with any company-the powerful, the learned, the affluent. Children seemed to love him.

Mestrovic was a vigorous worker. Students one quarter his age complained that they had not the drive to stay with their works as he stayed with his. In carving he might examine his block for a single moment, tilting his fine head backward, then he was off to an energetic round of cutting and pounding for sustained periods of time. Students also noted the trueness of his cut in carving, even in the subtlest low reliefs for which he is known. This is remarka- ble if one compared the uneven rhythm of his mallet stroke to his sure, true cut.

As a young man, Mestrovic had fallen through the skylight of his studio, where he had climbed to release a bird that was caught between the glass frames. From his fall he sustained broken bones in his wrists which a doctor had badly splinted. This resulted in the somewhat awk- ward, mallet stroke.

The professor was generous and kindly among his students. His criticisms were gentle and persuasive, never gruff. He never assumed the

IVAN MESTROVIC 1883-1962

(Every Yugoslav knows the sculpture of Ivan Mestrovic-the colossal statue at the Cathedral of Split, the memorial tomb at Cavtat, and many other works. One of the last of the great disci- ples of Rodin, he continued to the last to create sculpture of monumentality and vigor-although it bears little relation to the best of contem- porary work. He is the author of the two eques- trian statues at the entrance to Grant Park, Chi- cago.

Mestrovic came to the United States during World War II, and was welcomed by a large retrospective exhibition at the Metropolitan Mu- seum. After a period of teaching at Syracuse University he came to the University of Notre Dame, where for several years he had been "resident sculptor" and distinguished guest.- ED.)

The sculptor Ivan Mestrovic died on January 16, at the age of 78. "The professor," as every- one called him, finished his regular teaching chores in the Department of Art at Notre Dame on that day. Afterward he felt more weary than usual, so another teacher drove him to his resi- dence not far from the university. In the evening he suffered an attack and was rushed to St. Joseph's Hospital. Shortly after 8 that evening he succumbed to a massive stroke.

A number of books and essays treat of the great and prolific Croatian artist's sculpture, warm with human feeling, strong with sculp- tural volume. The stature and significance of his work will be better resolved in other decades than our own. A fellow-craftsman finds it more natural to speak of another side of Ivan Mestro- vic-his personal one. Through fully sixty years of his life much has been said and written about his scultpure. But Mestrovic the man evades notice and print.

The artist was a small, stocky man, handsome of face with regular, clean-boned features, sharp black eyes and a full black beard. A black beret was so much with him, day and night, in the studio and at home, that it becomes an insepara- ble part of one's recollections of him. He pre- sented a fine appearance and was equally at home with any company-the powerful, the learned, the affluent. Children seemed to love him.

Mestrovic was a vigorous worker. Students one quarter his age complained that they had not the drive to stay with their works as he stayed with his. In carving he might examine his block for a single moment, tilting his fine head backward, then he was off to an energetic round of cutting and pounding for sustained periods of time. Students also noted the trueness of his cut in carving, even in the subtlest low reliefs for which he is known. This is remarka- ble if one compared the uneven rhythm of his mallet stroke to his sure, true cut.

As a young man, Mestrovic had fallen through the skylight of his studio, where he had climbed to release a bird that was caught between the glass frames. From his fall he sustained broken bones in his wrists which a doctor had badly splinted. This resulted in the somewhat awk- ward, mallet stroke.

The professor was generous and kindly among his students. His criticisms were gentle and persuasive, never gruff. He never assumed the

IVAN MESTROVIC 1883-1962

(Every Yugoslav knows the sculpture of Ivan Mestrovic-the colossal statue at the Cathedral of Split, the memorial tomb at Cavtat, and many other works. One of the last of the great disci- ples of Rodin, he continued to the last to create sculpture of monumentality and vigor-although it bears little relation to the best of contem- porary work. He is the author of the two eques- trian statues at the entrance to Grant Park, Chi- cago.

Mestrovic came to the United States during World War II, and was welcomed by a large retrospective exhibition at the Metropolitan Mu- seum. After a period of teaching at Syracuse University he came to the University of Notre Dame, where for several years he had been "resident sculptor" and distinguished guest.- ED.)

The sculptor Ivan Mestrovic died on January 16, at the age of 78. "The professor," as every- one called him, finished his regular teaching chores in the Department of Art at Notre Dame on that day. Afterward he felt more weary than usual, so another teacher drove him to his resi- dence not far from the university. In the evening he suffered an attack and was rushed to St. Joseph's Hospital. Shortly after 8 that evening he succumbed to a massive stroke.

A number of books and essays treat of the great and prolific Croatian artist's sculpture, warm with human feeling, strong with sculp- tural volume. The stature and significance of his work will be better resolved in other decades than our own. A fellow-craftsman finds it more natural to speak of another side of Ivan Mestro- vic-his personal one. Through fully sixty years of his life much has been said and written about his scultpure. But Mestrovic the man evades notice and print.

The artist was a small, stocky man, handsome of face with regular, clean-boned features, sharp black eyes and a full black beard. A black beret was so much with him, day and night, in the studio and at home, that it becomes an insepara- ble part of one's recollections of him. He pre- sented a fine appearance and was equally at home with any company-the powerful, the learned, the affluent. Children seemed to love him.

Mestrovic was a vigorous worker. Students one quarter his age complained that they had not the drive to stay with their works as he stayed with his. In carving he might examine his block for a single moment, tilting his fine head backward, then he was off to an energetic round of cutting and pounding for sustained periods of time. Students also noted the trueness of his cut in carving, even in the subtlest low reliefs for which he is known. This is remarka- ble if one compared the uneven rhythm of his mallet stroke to his sure, true cut.

As a young man, Mestrovic had fallen through the skylight of his studio, where he had climbed to release a bird that was caught between the glass frames. From his fall he sustained broken bones in his wrists which a doctor had badly splinted. This resulted in the somewhat awk- ward, mallet stroke.

The professor was generous and kindly among his students. His criticisms were gentle and persuasive, never gruff. He never assumed the role of oracle. Although he preferred periods of role of oracle. Although he preferred periods of role of oracle. Although he preferred periods of

175 Cook: The Museo Lazaro Galdiano of Madrid 175 Cook: The Museo Lazaro Galdiano of Madrid 175 Cook: The Museo Lazaro Galdiano of Madrid

This content downloaded from 194.29.185.109 on Sun, 15 Jun 2014 18:11:37 PMAll use subject to JSTOR Terms and Conditions