Summary

Arthur Thomas Malkin The Gallery of Portraits: with Memoirs…

In the general character of his genius, Claude bears a strong affinity to Titian. He resembles him in power of generalization, in unaffected breadth of light and shadow, and in that unostentatious execution which is never needlessly displayed to excite wonder, and which does its exact office, and nothing more. But the similitude in colour is still more striking. The pictures of both are pervaded by the same glowing warmth; and exhibit the true brilliancy of nature, in which the hues of the brightest objects are graduated and softened by the atmosphere which surrounds them.
Source: Gutenberg

Arthur Thomas Malkin The Gallery of Portraits: with Memoirs…

Michael Angelo, Raphael, Correggio, Titian, all fellow-labourers, with many others inferior to these mighty masters, yet whose works are prized by kings and nobles as their most precious treasures—by what strange prodigality of natural gifts, or happy combination of circumstances was so rare an assemblage of genius produced in so short a time? The most obvious explanation is to be found in the princely patronage then afforded to the arts by princes and churchmen. By this none profited more largely or more justly than the great painter, whose life it is our task to relate.
Source: Gutenberg

Arthur Thomas Malkin The Gallery of Portraits: with Memoirs…

Thus his own labour was given only to invention and finishing, the only parts of the art in which the painter’s genius is essentially exercised. Wherever his works were dispersed, the demand for them increased, and fortune poured in on him in a golden flood. Rubens’s mode of living at Antwerp was the beau idéal of a painter’s existence. His house was embellished with such a collection of works of art, pictures, statues, busts, vases, and other objects of curiosity and elegance, as gave it the air of a princely museum.
Source: Gutenberg

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