THE MUSEUM AND ART GALLERY.
The latest additions to the art collection is a copy, by Mrs. A. C. Potter, of the “Portrait of Gevartius,” by Van Dyck, in the National Gallery. This copy is as excellent in quality as that of Rembrandt’s “Old Woman” which Mrs. Potter made for the committee some two years ago. The following description is taken from a handbook to the National Gallery.—
Portrait of Gevartius.—This title, although it is not correct, is retained
as the one under which the picture is widely known. A portrait of treble
interest—for its own excellence, its painter, and its subject. In point of
execution it has often been described as one of the finest portraits in
the world. The painting of the flesh, the light firm touch, the definite
marking of each feature, are the wonder and despair of modern portrait
painters. Van Dyck used to consider it his masterpiece, and before he had
gained his great reputation carried it about with him from court to court
and patron to patron to show what he could do as a portrait painter. Its
greatness lies not only in the painting of a face, but in the
representation of a character. The sitter is not Gevartius, but Cornelius
Van de Geest, an amateur of the arts and a friend of Rubens and Van Dyck.
Sir Anthony Van Dyck (Flemish School, 1599-1641), the most distinguished
of Rubens’ pupils, settled in England in 1632, and was appointed court
painter and knighted by Charles I.”
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