FOOTNOTES:[A]The author’s indebtedness to Motley in this chapter, as in subsequent ones, should not escape the reader’s notice.[B]The topic of this book being painting, Rembrandt’s fecundity and genius as an etcher have not been considered.[C]Compare the reference on page 103 to the series of Biblical subjects, executed in 1633, which are now in the Munich Gallery.[D]In the Adolf v. Carstanjen Collection, Berlin Gallery.[E]I allude to the men who are working more or less in sympathy with and along the lines of the French artist, Matisse.[F]See page 175.
FOOTNOTES:
[A]The author’s indebtedness to Motley in this chapter, as in subsequent ones, should not escape the reader’s notice.
[A]The author’s indebtedness to Motley in this chapter, as in subsequent ones, should not escape the reader’s notice.
[B]The topic of this book being painting, Rembrandt’s fecundity and genius as an etcher have not been considered.
[B]The topic of this book being painting, Rembrandt’s fecundity and genius as an etcher have not been considered.
[C]Compare the reference on page 103 to the series of Biblical subjects, executed in 1633, which are now in the Munich Gallery.
[C]Compare the reference on page 103 to the series of Biblical subjects, executed in 1633, which are now in the Munich Gallery.
[D]In the Adolf v. Carstanjen Collection, Berlin Gallery.
[D]In the Adolf v. Carstanjen Collection, Berlin Gallery.
[E]I allude to the men who are working more or less in sympathy with and along the lines of the French artist, Matisse.
[E]I allude to the men who are working more or less in sympathy with and along the lines of the French artist, Matisse.
[F]See page 175.
[F]See page 175.