Self-Portrait with Lace Collar
c. 1629
Oil on canvas,
38 x 29 cm
Mauritshuis, The Hague

[4] “Now it is evident that in Rembrandt’s system, while the contrasts are not more right than with Veronese, the colours are all wrong from beginning to end.”




John Ruskin
Art Authority.






[7] “Vulgarity, dulness, or impiety will indeed always express themselves through art, in brown and gray, as in Rembrandt.”




Prof. John Ruskin
Modern Painters.

An Old Woman: The Artist's Mother
c. 1629
Oil on panel,
61,3 x 47,3 cm
Royal Collection, Windsor

Danaë
1636-47
Oil on canvas,
165 x 203 cm
The Hermitage, St. Petersburg

Christ and the Woman Taken in Adultery
1644
Oil on wood,
83,8 x 65,4 cm
National Gallery, London

Peter Denouncing Christ
1660
Oil on canvas,
154 x 169 cm
Rijksmuseum, Amsterdam

Self-Portrait
1669
Oil on canvas,
86 x 70.5 cm
National Gallery, London

[10] “The principal object in the foreground of Turner’s ‘Building of Carthage’ is a group of children sailing toy boats. The exquisite choice of this incident … is quite as appreciable when it is told, as when it is seen—it has nothing to do with the technicalities of painting; … such a thought as this is something far above all art.”

John Ruskin,
Art Professor: Modern Painters.

TURNER, Joseph Mallord William
Dido Building Carthage, or The Rise of the Carthaginian Empire
1815
Oil on canvas
155.5 x 230 cm.
Turner Bequest, 1856.

[16] … “The Butcher’s Dog, in the corner of Mr. Mulready’s ‘Butt,’ displays, perhaps, the most wonderful, because the most dignified, finish … and assuredly the most perfect unity of drawing and colour which the entire range of ancient and modern art can exhibit. Albert Durer is, indeed, the only rival who might be suggested.”





John Ruskin
Slade Professor of Art: Modern Painters.










Mulready, William (RA)
The Butt: Shooting a Cherry
1822-1848
oil on canvas
45.4 38.4 cm
Victoria & Albert Museum, London

“It is a portrait of Doge Andrea Gritti, and I believe it is a real Titian. It shows finish. It is a very perfect sample of the highest finish of ancient art.[17]








[17] … “I feel entitled to point out that the picture by Titian, produced in the case of Whistler v. Ruskin, is an early specimen of that master, and does not represent adequately the style and qualities which have obtained for him his great reputation—one obvious point of difference between this and his more mature work being the far greater amount of finish—I do not say completeness—exhibited in it … and as the picture was brought forward with a view to inform the jury as to the nature of the work of the greatest painter, and more especially as to the high finish introduced in it, it is evident that it was calculated to produce an erroneous impression on their minds, if indeed any one present at the inquiry can hold that those gentlemen were in any way fitted to understand the issues raised therein.—I am, Sir, your obedient servant,





A. MOORE.
“Nov. 28.”
Extract of a letter to the Editor of the Echo.

Titian (TIZIANO Vecellio)
Portrait of Doge Andrea Gritti
c. 1545 Oil on canvas,
133 x 103 cm
National Gallery of Art, Washington