File:The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection (1907) (14777136731).jpg

Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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le struc-ture of his beings is consistent. The heads suggestamphibious possibilities, and no strenuous expres-sion of the human being with a soul or a conscienceis allowed to creep in. Look at the blank fat face of the satyr who sitson the bank in the Dresden picture. There areno aspirations or ideals to bother him. He wasa thirsty animal, and he sits back in the content-ment of a quenched longing, sodden and satisfied. A very lovely element, however, is introducedinto this picture. The brutal and the ephemeralhere meet in a delightful way. The little wreathof spring-like sprites, slender babies of the fields,born of dew and sunshine (not fat Renaissancecherubs like those we have seen so often down-stairs), are dancing in a fantastic ecstasy on theflowery turf above the spring. Their little shapesare ineffably graceful, and for movement and ac-tion they rival any group of dancing figures thatI recall in art. Deep in the cool rocky shadow,under the source of the spring, two tiny tribu-
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ARNOLD BOCKLIN. — SPRING S DELIGHTS /IDo&ern German /IDasters 43s tary babies — the offspring of the Source — arecrouched, with their Httle upturned jars, in youth-ful imitation of the nymph above them! Thewhole idea is quaint and absolutely original. An early painting by Bocklin hangs in the thirty-fourth room; it is also fantastic and interesting.The nymph Syrinx, pursued by Pan, is seen run-ning to the river, and her metamorphosis into abunch of reeds is commencing. The fingers of heroutstretched hands are turning into reeds: theprocess is not graceful, it is too suggestive of Chi-nese finger-nails. The landscape is in sympathywith the subject, as Bocklins landscapes alwaysare: even a certain hurtling rush in the foliage,with a spiral vine, give the necessary action to makeus sensible of the haste with which the figures —one so fair and one so dark — are moving. Histrees are always made to express the sentiment ofthe other life in his compositions. When the sen-timent

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