Sales catalogue 494: Maggs Bros

Date:
1927
Reference:
WA/HMM/CM/Sal/13/51
Catalogue details

Licence: Public Domain Mark

Credit: Sales catalogue 494: Maggs Bros. Source: Wellcome Collection.

    210/316 (page 178)
    cnn a 1741 MIGNARD (PIERRE, 1610-1695). Famous Painter to Louis XIV. Director of the Gobelins and of the Academy of Painting. AUTOGRAPH LETTER SIGNED TO EDWARD COLBERT. 2. pp. 4 tome hariss 12 thmecember, mhgO3, £32 A very fine letter giving a criticism of a picture by Daniel Sarabat, a pupil of the Academy of France at Rome, and recommending the study of the old masters to him. It was in his capacity as Chancellor of the Academy of Painting that Mignard examined the work of the pupils of the Academy of France. (Trans.) :—‘‘ I have seen the picture which has been sent to you from Rome. The man who did it does not colour badly, the design is very weak. The situation of the place which is properly the background of his picture is crowded, he under- stands nothing about space, being in a country where palm trees are seen he has made one which resembles the plume which is put on the head of a mule. For one who is not accustomed to doing draperies by practice, it is necessary to see the natural, and even if possible, to vary the materials, and to mind the heads. There are very fine pictures which he has only to follow and imitate; let him see once a week Raphael’s picture of St. Cecilia, or that of St. Peter Montorio. One who has in mind only the painters of the time who are at Rome sees that which proves that he who neglects the old masters apparently finds too great difficulties to be willing to imitate them, and it is very certain that if one does not walk in their steps one will always stray from the good and from perfection. It is well let him make the choice of a beautiful subject in which there will be men, women, and children, landscape, and some piece of architecture, then the picture will be great and pleasing, if he wants little work, a man, woman, and child. Variety is always pleasing. Above all let him accustom himself to greater finish, the ‘ broissé ” styles are never of much value and are not wanted. Since I am speaking of decora- tion, that of Carlo Marato which we have.in our store room is so full-of nude figures that the King will not have it in his cabinet. Indeed a painter must have lost his head to put a river god near the maiden Daphne who is showing parts which ought always to be concealed. It is bad taste in decoration which the prudent painter should always guard against.’’ Etc.