Identifier: netherlandgaller00prey (find matches)
Title: The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : St. Botolph Society
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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dhimself with ardour to the painting of the sea.In 1869 he settled in The Hague, where neighbour-ing Scheveningen has become his vantage point tostudy and portray those fine combinations of skyand water which have become famous. His firstgreat success came with a large marine he sent toParis in 1870, which was bought by the painterChaplin, and on account of which Millet, who wasa member of the jury, sent him a letter of heartycongratulations. Thereby encouraged, he continuedwith energy and sturdy determination to perfecthimself in his art by incessant study. His recog-nition as one of the greatest marine painters of thepresent time is universal. His wife, Mrs. S. Mesdag-van Houten, born inGroningen in 1834, did not touch a drawing penciluntil 1870, when they were settled in The Hague.She tried at first still life, but found later attrac-tion and inspiration in the heath landscape, with itssolitary cottages, its sheepfold, and its sombrequiet. These sht depicts with stately simplicity,
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GABRIEL METSU THE MUSIC. LOVERS Plate xxiv (.See page 313) ManritshutsThe Hague XCbe £ 1Tf Century Dutcfo painters 185 and with a beautiful harmony of grayish tones,that affects one hypnotically. In her still lives wefind many of the magnificent Japanese and Chinesevases that are among the important numbers in theMesdag Museum. D. A. C. Artz (1837-1890) must be rankedamong the foremost of the Dutch painters. Hereceived his first tuition at the Amsterdam academy,and from Joseph Israels. When he had left forParis in 1866 he became soon acquainted withCourbet, who advised him to hire a studio and amodel and — shut his door to every one. Artzfollowed this advice, more or less, and began topaint all kinds of subjects, even Japanese women.His associates, Jacob and Matthys Maris and Kaem-merer, encouraged him and criticized his work, andArtz acquired that facility of handling which showsitself in all his work, in the ease of his figures, andthe sureness of his drawing. After eight years h

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