Chinese Sculpture at the Berkeley GalleriesAuthor(s): William CohnSource: The Burlington Magazine for Connoisseurs, Vol. 88, No. 517 (Apr., 1946), pp. 100-101Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/869218 .

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a fine Monet of the Houses of Parliament (M. R. Musc.). Lami's two enchanting watercolours lent by the Marquis de Ganay evoke the charm of Victorian London; while J. E. Blanche's Belgrave Square (Duc de Gramont) recalls the vanished splendours of Edwardian society.

At the Koetser Gallery, " Les Maitres Anciens" show a mixed collection of minor Old Masters of various schools. These include a charming Swanevelt from the Neeld Collection which was shown at Burlington House in 1938; an attractive Karel du Jardin from the Lyne- Stephens Collection [PLATE C]; a sumptuous flower- piece by Jan Brueghel de Velours with medallions inset by Hendrik van Balen; and an interesting conversation piece (tentatively attributed to Hogarth) of Captain Coram and Bishop Hoadley.

CHINESE SCULPTURE AT THE BERKFTL.FY GALLERIES By William Cohn.

Following upon a remarkable exhibition of Tibetan art which has just been held there, an interesting display of Chinese sculpture is now on view at the Berkeley Galleries. In the reverse order these two exhibitions would have been more instructive, for Tibetan art is essentially a combination of Chinese and Indian elements. Later, to be sure-from the Yuan period (I280-1367) onwards-it began in its turn to influence China, as the Mongols and Manchus were adherents of Lamaism. Chinese sculpture is, in the main, Buddhist. Even though Buddhism came from India and Central Asia, China's genius succeeded in infusing its own spirit into Buddhist art. As a matter of fact, a very ancient indigenous sculptural tradition existed in that country. This is most evident in the Wei dynasty (386-534 A.D.), that is to say, during the first period of Buddhism in China, from which period a considerable number of works are now to be seen in the exhibition [PLATE B]. The majority of these originate from cave temples. Here we moderns have a good opportunity of realising what a small part truth to nature plays in art. Vision is everything. Blocks of stone are suffused with religious life. The folds of the draperies serve as a framework to enhance the impression of solemnity. And yet, those who maintain, on the other hand, that adherence to the block is the only method

LETTER NEW FACTS ON ZURBARAN

SIR,-Every lover of Spanish art must be grateful to you for the special Spanish issue you recently published and I wish to send you my sincere congratulations. There was, however, one small flaw. In the Veiled Lady reproduced as by Zurbaran one misses the stirring severity, the sense for plastic, sculptural form of the great Spanish Baroque master. Instead this light and coquettish picture breathes already the decorative grace of the Rococo, of Pater and Guardi. There exists indeed proof that it was painted by or after a Frenchman, a contemporary and collaborator of Greuze.

Jean Barbault (about I705-I776) lived a full century after Zurbaran. This is not the first time that his name is linked to Spanish art. Twenty years ago one of his paintings was attributed to Goya. Herman Voss (" Ein angeblicher Goya und sein wirklicher Meister," Repertorium fir Kunstwissenschaft, vol. 48, I927, pp. 105 et sq.) established Barbault as the author on the

a fine Monet of the Houses of Parliament (M. R. Musc.). Lami's two enchanting watercolours lent by the Marquis de Ganay evoke the charm of Victorian London; while J. E. Blanche's Belgrave Square (Duc de Gramont) recalls the vanished splendours of Edwardian society.

At the Koetser Gallery, " Les Maitres Anciens" show a mixed collection of minor Old Masters of various schools. These include a charming Swanevelt from the Neeld Collection which was shown at Burlington House in 1938; an attractive Karel du Jardin from the Lyne- Stephens Collection [PLATE C]; a sumptuous flower- piece by Jan Brueghel de Velours with medallions inset by Hendrik van Balen; and an interesting conversation piece (tentatively attributed to Hogarth) of Captain Coram and Bishop Hoadley.

CHINESE SCULPTURE AT THE BERKFTL.FY GALLERIES By William Cohn.

Following upon a remarkable exhibition of Tibetan art which has just been held there, an interesting display of Chinese sculpture is now on view at the Berkeley Galleries. In the reverse order these two exhibitions would have been more instructive, for Tibetan art is essentially a combination of Chinese and Indian elements. Later, to be sure-from the Yuan period (I280-1367) onwards-it began in its turn to influence China, as the Mongols and Manchus were adherents of Lamaism. Chinese sculpture is, in the main, Buddhist. Even though Buddhism came from India and Central Asia, China's genius succeeded in infusing its own spirit into Buddhist art. As a matter of fact, a very ancient indigenous sculptural tradition existed in that country. This is most evident in the Wei dynasty (386-534 A.D.), that is to say, during the first period of Buddhism in China, from which period a considerable number of works are now to be seen in the exhibition [PLATE B]. The majority of these originate from cave temples. Here we moderns have a good opportunity of realising what a small part truth to nature plays in art. Vision is everything. Blocks of stone are suffused with religious life. The folds of the draperies serve as a framework to enhance the impression of solemnity. And yet, those who maintain, on the other hand, that adherence to the block is the only method

LETTER NEW FACTS ON ZURBARAN

SIR,-Every lover of Spanish art must be grateful to you for the special Spanish issue you recently published and I wish to send you my sincere congratulations. There was, however, one small flaw. In the Veiled Lady reproduced as by Zurbaran one misses the stirring severity, the sense for plastic, sculptural form of the great Spanish Baroque master. Instead this light and coquettish picture breathes already the decorative grace of the Rococo, of Pater and Guardi. There exists indeed proof that it was painted by or after a Frenchman, a contemporary and collaborator of Greuze.

Jean Barbault (about I705-I776) lived a full century after Zurbaran. This is not the first time that his name is linked to Spanish art. Twenty years ago one of his paintings was attributed to Goya. Herman Voss (" Ein angeblicher Goya und sein wirklicher Meister," Repertorium fir Kunstwissenschaft, vol. 48, I927, pp. 105 et sq.) established Barbault as the author on the

a fine Monet of the Houses of Parliament (M. R. Musc.). Lami's two enchanting watercolours lent by the Marquis de Ganay evoke the charm of Victorian London; while J. E. Blanche's Belgrave Square (Duc de Gramont) recalls the vanished splendours of Edwardian society.

At the Koetser Gallery, " Les Maitres Anciens" show a mixed collection of minor Old Masters of various schools. These include a charming Swanevelt from the Neeld Collection which was shown at Burlington House in 1938; an attractive Karel du Jardin from the Lyne- Stephens Collection [PLATE C]; a sumptuous flower- piece by Jan Brueghel de Velours with medallions inset by Hendrik van Balen; and an interesting conversation piece (tentatively attributed to Hogarth) of Captain Coram and Bishop Hoadley.

CHINESE SCULPTURE AT THE BERKFTL.FY GALLERIES By William Cohn.

Following upon a remarkable exhibition of Tibetan art which has just been held there, an interesting display of Chinese sculpture is now on view at the Berkeley Galleries. In the reverse order these two exhibitions would have been more instructive, for Tibetan art is essentially a combination of Chinese and Indian elements. Later, to be sure-from the Yuan period (I280-1367) onwards-it began in its turn to influence China, as the Mongols and Manchus were adherents of Lamaism. Chinese sculpture is, in the main, Buddhist. Even though Buddhism came from India and Central Asia, China's genius succeeded in infusing its own spirit into Buddhist art. As a matter of fact, a very ancient indigenous sculptural tradition existed in that country. This is most evident in the Wei dynasty (386-534 A.D.), that is to say, during the first period of Buddhism in China, from which period a considerable number of works are now to be seen in the exhibition [PLATE B]. The majority of these originate from cave temples. Here we moderns have a good opportunity of realising what a small part truth to nature plays in art. Vision is everything. Blocks of stone are suffused with religious life. The folds of the draperies serve as a framework to enhance the impression of solemnity. And yet, those who maintain, on the other hand, that adherence to the block is the only method

LETTER NEW FACTS ON ZURBARAN

SIR,-Every lover of Spanish art must be grateful to you for the special Spanish issue you recently published and I wish to send you my sincere congratulations. There was, however, one small flaw. In the Veiled Lady reproduced as by Zurbaran one misses the stirring severity, the sense for plastic, sculptural form of the great Spanish Baroque master. Instead this light and coquettish picture breathes already the decorative grace of the Rococo, of Pater and Guardi. There exists indeed proof that it was painted by or after a Frenchman, a contemporary and collaborator of Greuze.

Jean Barbault (about I705-I776) lived a full century after Zurbaran. This is not the first time that his name is linked to Spanish art. Twenty years ago one of his paintings was attributed to Goya. Herman Voss (" Ein angeblicher Goya und sein wirklicher Meister," Repertorium fir Kunstwissenschaft, vol. 48, I927, pp. 105 et sq.) established Barbault as the author on the

a fine Monet of the Houses of Parliament (M. R. Musc.). Lami's two enchanting watercolours lent by the Marquis de Ganay evoke the charm of Victorian London; while J. E. Blanche's Belgrave Square (Duc de Gramont) recalls the vanished splendours of Edwardian society.

At the Koetser Gallery, " Les Maitres Anciens" show a mixed collection of minor Old Masters of various schools. These include a charming Swanevelt from the Neeld Collection which was shown at Burlington House in 1938; an attractive Karel du Jardin from the Lyne- Stephens Collection [PLATE C]; a sumptuous flower- piece by Jan Brueghel de Velours with medallions inset by Hendrik van Balen; and an interesting conversation piece (tentatively attributed to Hogarth) of Captain Coram and Bishop Hoadley.

CHINESE SCULPTURE AT THE BERKFTL.FY GALLERIES By William Cohn.

Following upon a remarkable exhibition of Tibetan art which has just been held there, an interesting display of Chinese sculpture is now on view at the Berkeley Galleries. In the reverse order these two exhibitions would have been more instructive, for Tibetan art is essentially a combination of Chinese and Indian elements. Later, to be sure-from the Yuan period (I280-1367) onwards-it began in its turn to influence China, as the Mongols and Manchus were adherents of Lamaism. Chinese sculpture is, in the main, Buddhist. Even though Buddhism came from India and Central Asia, China's genius succeeded in infusing its own spirit into Buddhist art. As a matter of fact, a very ancient indigenous sculptural tradition existed in that country. This is most evident in the Wei dynasty (386-534 A.D.), that is to say, during the first period of Buddhism in China, from which period a considerable number of works are now to be seen in the exhibition [PLATE B]. The majority of these originate from cave temples. Here we moderns have a good opportunity of realising what a small part truth to nature plays in art. Vision is everything. Blocks of stone are suffused with religious life. The folds of the draperies serve as a framework to enhance the impression of solemnity. And yet, those who maintain, on the other hand, that adherence to the block is the only method

LETTER NEW FACTS ON ZURBARAN

SIR,-Every lover of Spanish art must be grateful to you for the special Spanish issue you recently published and I wish to send you my sincere congratulations. There was, however, one small flaw. In the Veiled Lady reproduced as by Zurbaran one misses the stirring severity, the sense for plastic, sculptural form of the great Spanish Baroque master. Instead this light and coquettish picture breathes already the decorative grace of the Rococo, of Pater and Guardi. There exists indeed proof that it was painted by or after a Frenchman, a contemporary and collaborator of Greuze.

Jean Barbault (about I705-I776) lived a full century after Zurbaran. This is not the first time that his name is linked to Spanish art. Twenty years ago one of his paintings was attributed to Goya. Herman Voss (" Ein angeblicher Goya und sein wirklicher Meister," Repertorium fir Kunstwissenschaft, vol. 48, I927, pp. 105 et sq.) established Barbault as the author on the

for the sculptor go too far. In China too during the course of the centuries this method gave way repeatedly to a greater striving after reality. The torso of a priest from the collection of Ludwig Burchard is a magnificent example from a period of transition (Sui Dynasty, 581-618 A.D.) where there is a softening of the strict rigidity. This process continues in T'ang times (6I8- 906 A.D.). It is hastened by a fresh wave of Indian influence. Characteristic of this phase is the noble marble torso from the rock caves of T'ien Lung Shan. The evolution as sketched above is also apparent in the well-known funeral figures of baked clay (they naturally could not be omitted from the exhibition), and this though we are here chiefly dealing with profane motifs. The manner in which sculpture of the Sung period (960-1279 A.D.) gradually loses its monumental features and becomes more picturesque is shown equally well [PTATE A]. In two or three representations of Kuanyin, the Deity of Mercy, the bodies appear to be more fully modelled and with deeper ridges in the flowing of the garments. The deity has become a charming terrestrial creature, the evolution being somewhat similar to that of the Madonna in the West.

As was only to be expected the majority of the objects exhibited belong to the last 500 years. It is a rich assortment from all cultural spheres and of great variety in materials. The British Museum and the Victoria and Albert Museum both own a remarkable collection of Chinese sculpture, but they are not accessible yet. Private collections, on the other hand, very rarely contain Chinese sculpture of quality. The exhibition at the Berkeley Galleries will be all the more welcomed. DUTCH ART AT BRISTOL.

An exhibition of Dutch seventeenth century painting is being held at The Red Lodge, Bristol, for three weeks from 14th March, in aid of the Lord Mayor's European Relief Fund. H.M. The King has consented to the loan of three pictures from the Royal Collection ; these are works by Pieter de Hooch, Jan Steen, and Gerard Terborch. Other important paintings have been sent by the Duke of Beaufort, Lord Pembroke, Lord Stafford and other collectors. The Kelvingrove Museum at Glasgow has contributed fine examples of works by Rembrandt and Frans Hals.

for the sculptor go too far. In China too during the course of the centuries this method gave way repeatedly to a greater striving after reality. The torso of a priest from the collection of Ludwig Burchard is a magnificent example from a period of transition (Sui Dynasty, 581-618 A.D.) where there is a softening of the strict rigidity. This process continues in T'ang times (6I8- 906 A.D.). It is hastened by a fresh wave of Indian influence. Characteristic of this phase is the noble marble torso from the rock caves of T'ien Lung Shan. The evolution as sketched above is also apparent in the well-known funeral figures of baked clay (they naturally could not be omitted from the exhibition), and this though we are here chiefly dealing with profane motifs. The manner in which sculpture of the Sung period (960-1279 A.D.) gradually loses its monumental features and becomes more picturesque is shown equally well [PTATE A]. In two or three representations of Kuanyin, the Deity of Mercy, the bodies appear to be more fully modelled and with deeper ridges in the flowing of the garments. The deity has become a charming terrestrial creature, the evolution being somewhat similar to that of the Madonna in the West.

As was only to be expected the majority of the objects exhibited belong to the last 500 years. It is a rich assortment from all cultural spheres and of great variety in materials. The British Museum and the Victoria and Albert Museum both own a remarkable collection of Chinese sculpture, but they are not accessible yet. Private collections, on the other hand, very rarely contain Chinese sculpture of quality. The exhibition at the Berkeley Galleries will be all the more welcomed. DUTCH ART AT BRISTOL.

An exhibition of Dutch seventeenth century painting is being held at The Red Lodge, Bristol, for three weeks from 14th March, in aid of the Lord Mayor's European Relief Fund. H.M. The King has consented to the loan of three pictures from the Royal Collection ; these are works by Pieter de Hooch, Jan Steen, and Gerard Terborch. Other important paintings have been sent by the Duke of Beaufort, Lord Pembroke, Lord Stafford and other collectors. The Kelvingrove Museum at Glasgow has contributed fine examples of works by Rembrandt and Frans Hals.

for the sculptor go too far. In China too during the course of the centuries this method gave way repeatedly to a greater striving after reality. The torso of a priest from the collection of Ludwig Burchard is a magnificent example from a period of transition (Sui Dynasty, 581-618 A.D.) where there is a softening of the strict rigidity. This process continues in T'ang times (6I8- 906 A.D.). It is hastened by a fresh wave of Indian influence. Characteristic of this phase is the noble marble torso from the rock caves of T'ien Lung Shan. The evolution as sketched above is also apparent in the well-known funeral figures of baked clay (they naturally could not be omitted from the exhibition), and this though we are here chiefly dealing with profane motifs. The manner in which sculpture of the Sung period (960-1279 A.D.) gradually loses its monumental features and becomes more picturesque is shown equally well [PTATE A]. In two or three representations of Kuanyin, the Deity of Mercy, the bodies appear to be more fully modelled and with deeper ridges in the flowing of the garments. The deity has become a charming terrestrial creature, the evolution being somewhat similar to that of the Madonna in the West.

As was only to be expected the majority of the objects exhibited belong to the last 500 years. It is a rich assortment from all cultural spheres and of great variety in materials. The British Museum and the Victoria and Albert Museum both own a remarkable collection of Chinese sculpture, but they are not accessible yet. Private collections, on the other hand, very rarely contain Chinese sculpture of quality. The exhibition at the Berkeley Galleries will be all the more welcomed. DUTCH ART AT BRISTOL.

An exhibition of Dutch seventeenth century painting is being held at The Red Lodge, Bristol, for three weeks from 14th March, in aid of the Lord Mayor's European Relief Fund. H.M. The King has consented to the loan of three pictures from the Royal Collection ; these are works by Pieter de Hooch, Jan Steen, and Gerard Terborch. Other important paintings have been sent by the Duke of Beaufort, Lord Pembroke, Lord Stafford and other collectors. The Kelvingrove Museum at Glasgow has contributed fine examples of works by Rembrandt and Frans Hals.

for the sculptor go too far. In China too during the course of the centuries this method gave way repeatedly to a greater striving after reality. The torso of a priest from the collection of Ludwig Burchard is a magnificent example from a period of transition (Sui Dynasty, 581-618 A.D.) where there is a softening of the strict rigidity. This process continues in T'ang times (6I8- 906 A.D.). It is hastened by a fresh wave of Indian influence. Characteristic of this phase is the noble marble torso from the rock caves of T'ien Lung Shan. The evolution as sketched above is also apparent in the well-known funeral figures of baked clay (they naturally could not be omitted from the exhibition), and this though we are here chiefly dealing with profane motifs. The manner in which sculpture of the Sung period (960-1279 A.D.) gradually loses its monumental features and becomes more picturesque is shown equally well [PTATE A]. In two or three representations of Kuanyin, the Deity of Mercy, the bodies appear to be more fully modelled and with deeper ridges in the flowing of the garments. The deity has become a charming terrestrial creature, the evolution being somewhat similar to that of the Madonna in the West.

As was only to be expected the majority of the objects exhibited belong to the last 500 years. It is a rich assortment from all cultural spheres and of great variety in materials. The British Museum and the Victoria and Albert Museum both own a remarkable collection of Chinese sculpture, but they are not accessible yet. Private collections, on the other hand, very rarely contain Chinese sculpture of quality. The exhibition at the Berkeley Galleries will be all the more welcomed. DUTCH ART AT BRISTOL.

An exhibition of Dutch seventeenth century painting is being held at The Red Lodge, Bristol, for three weeks from 14th March, in aid of the Lord Mayor's European Relief Fund. H.M. The King has consented to the loan of three pictures from the Royal Collection ; these are works by Pieter de Hooch, Jan Steen, and Gerard Terborch. Other important paintings have been sent by the Duke of Beaufort, Lord Pembroke, Lord Stafford and other collectors. The Kelvingrove Museum at Glasgow has contributed fine examples of works by Rembrandt and Frans Hals.

basis of a signed engraving. Voss also reproduced a Cistercian Nun, signed and dated "Barbault Roma I750," in the collection of Lord Leconfield. This picture is practically identical with the Veiled Lady, except that it is reversed. We know that engravings were made after many of Barbault's costume paintings. It is therefore most likely that the Veiled Lady was painted after an engraving of the Lord Leconfield picture. The neutral background, inconsistent with the landscape settings Barbault himself used, might also speak for this assumption. Zurbaran's Veiled Lady becomes thus a Cistercian Nun either by Barbault, or more probably after him, painted not before 1750.

May I use this occasion to invite your readers to send me information about and photographs of paintings by Zurbaran for a complete edition of the ceuvre of this master which I am preparing for the Phaidon Press. Princeton University, MARTIN S. SORIA.

Princeton, N.J., U.S.A.

basis of a signed engraving. Voss also reproduced a Cistercian Nun, signed and dated "Barbault Roma I750," in the collection of Lord Leconfield. This picture is practically identical with the Veiled Lady, except that it is reversed. We know that engravings were made after many of Barbault's costume paintings. It is therefore most likely that the Veiled Lady was painted after an engraving of the Lord Leconfield picture. The neutral background, inconsistent with the landscape settings Barbault himself used, might also speak for this assumption. Zurbaran's Veiled Lady becomes thus a Cistercian Nun either by Barbault, or more probably after him, painted not before 1750.

May I use this occasion to invite your readers to send me information about and photographs of paintings by Zurbaran for a complete edition of the ceuvre of this master which I am preparing for the Phaidon Press. Princeton University, MARTIN S. SORIA.

Princeton, N.J., U.S.A.

basis of a signed engraving. Voss also reproduced a Cistercian Nun, signed and dated "Barbault Roma I750," in the collection of Lord Leconfield. This picture is practically identical with the Veiled Lady, except that it is reversed. We know that engravings were made after many of Barbault's costume paintings. It is therefore most likely that the Veiled Lady was painted after an engraving of the Lord Leconfield picture. The neutral background, inconsistent with the landscape settings Barbault himself used, might also speak for this assumption. Zurbaran's Veiled Lady becomes thus a Cistercian Nun either by Barbault, or more probably after him, painted not before 1750.

May I use this occasion to invite your readers to send me information about and photographs of paintings by Zurbaran for a complete edition of the ceuvre of this master which I am preparing for the Phaidon Press. Princeton University, MARTIN S. SORIA.

Princeton, N.J., U.S.A.

basis of a signed engraving. Voss also reproduced a Cistercian Nun, signed and dated "Barbault Roma I750," in the collection of Lord Leconfield. This picture is practically identical with the Veiled Lady, except that it is reversed. We know that engravings were made after many of Barbault's costume paintings. It is therefore most likely that the Veiled Lady was painted after an engraving of the Lord Leconfield picture. The neutral background, inconsistent with the landscape settings Barbault himself used, might also speak for this assumption. Zurbaran's Veiled Lady becomes thus a Cistercian Nun either by Barbault, or more probably after him, painted not before 1750.

May I use this occasion to invite your readers to send me information about and photographs of paintings by Zurbaran for a complete edition of the ceuvre of this master which I am preparing for the Phaidon Press. Princeton University, MARTIN S. SORIA.

Princeton, N.J., U.S.A.

101 101 101 101

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A-BUDDHA. SUNG. DRY LACQUER (SCHIA-SCHU). HEIGHT, 31.8 CM. (BERKELEY GALLERIES) A-BUDDHA. SUNG. DRY LACQUER (SCHIA-SCHU). HEIGHT, 31.8 CM. (BERKELEY GALLERIES)

B-BODHISATTS'A SEATED. WET. FROM THE CAVES OF LUNG-MEN. HEIGHT, 42 CM. (MR. J. H. REISEGER) B-BODHISATTS'A SEATED. WET. FROM THE CAVES OF LUNG-MEN. HEIGHT, 42 CM. (MR. J. H. REISEGER)

C-LA;&DSCAPEx BY KAREL I:lUJARDIN. SIGNED AND DATED D-PORTRAIT OF MRS. FAGAX. BY ROBERT FAGAN. 1657. CANVAS, 53 BY 45.7 CM. (LES MAITRES ANCIENS LTD.) CANVAS, 72 BY 60 CM. (ARCADE GALLERY) C-LA;&DSCAPEx BY KAREL I:lUJARDIN. SIGNED AND DATED D-PORTRAIT OF MRS. FAGAX. BY ROBERT FAGAN. 1657. CANVAS, 53 BY 45.7 CM. (LES MAITRES ANCIENS LTD.) CANVAS, 72 BY 60 CM. (ARCADE GALLERY)

SHORTER NOTICES: CHINESE SCULPTURE AT THE BERKELEY GALLERIES SOME OTHER PAINTINGS AND DRAWINGS ON EXHIBITION

SHORTER NOTICES: CHINESE SCULPTURE AT THE BERKELEY GALLERIES SOME OTHER PAINTINGS AND DRAWINGS ON EXHIBITION

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