File:Catalogue of the Ehrich Galleries collection of valuable paintings - by the masters of the classic Italian, Dutch, Flemish, English, Spanish, and French schools (1905) (14777804984).jpg

Identifier: mastehric00fift (find matches)
Title: Catalogue of the Ehrich Galleries collection of valuable paintings : by the masters of the classic Italian, Dutch, Flemish, English, Spanish, and French schools
Year: 1905 (1900s)
Authors: Fifth Avenue Art Galleries (New York, N.Y.)
Subjects: Ehrich Galleries
Publisher: New York
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
He painted sheep and goats to admiration,
not only in the forms, but he represented their character and habits
to the life. Ommeganck acquired immense reputation, and his
pictures are only to be found in the choicest collections in Hol-
land, France and England.

THE MILKMAID'S HOUR

Restful and almost slumberous is the idyl of country life
which a late follower of the old Dutch cattle-painters depicts with
the brush of a master. It is early morning, yet the sun is already
warm and the shade is agreeable. A stalwart woman comes bare-
foot with her milk-pails hanging from the end of the yoke to take
the first tithing from the cows and goats. The domestic animals
are as perfectly painted as those of Verboeckhoven, but how much
broader and truer to nature in color and action are these beasts.
And how excellent the womans figure. The pupil painted with
more glittering surface, but the master is the master still.
Signed lower left: B. P. Ommeganck, 1817.
On canvas; height, 26 inches; width, 30¹/₂ inches.

MADAME DE FOUQUIÈRES,
DAUGHTER. OF MIGNARD.

Text Appearing After Image:

PIERRE MIGNARD

1610—1695

67

PIERRE MIGNARD

French School

1610-1695

Mignard, after studying in France, proceeded to Italy, where
he remained for twenty-two years. In 1657 he received a royal
command to return to France. He was patronized by royalty,
and was especially regarded as the painter of the court beauties.
Louis XIV sat to him ten times for his portrait, and had such a
respect for his talents that he ennobled him.

MADAME DE FOUQUIÈRES

It is interesting to compare the portraits made in France dur-
ing the 17th century by the court favorites with those made at
the beginning and end of that century in England. The French
painters are less stiff in pose and tenderer in outline, sweeter in
tone, more sumptuous in decoration.
Mignards portrait of his daughter reflects the courtly style
of poem of the period in which Amor plays a constant role. The
arch archer lays his finger on his lip and gazes into the face
of Madame de Fouquières, whose carefully curled locks, artful
negligeé and hand with pinkish finger-tips laid upon her bosom
prove her right to all the affectations of the Court and the period.
This charmingly colored and well-drawn portrait might serve
as an illustration of the life of Versailles.
On canvas; height, 42¹ /₂ inches; width, 33 inches.

Note About Images