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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and yellow, the buff of theofficer, and the white satin robe of the lady, thestrong lemon yellows in the high-lights, contrastingwith the brownish reds and deep scarlets in theshadows, give a rich harmony of tones. On an-other wall hangs his portrait group of the vanMoerkerken family, a small panel, only 16 x 14inches, which is enamel-like in finish. Two of JanSteens Doctors pictures hang close together. Inone the physician is feeling my ladys pulse; theother one gives a richly-furnished interior, with theinvalid reclining on a baldaquin bed, while thegrave Aesculapius accepts refreshment from themaid. The physicians hands, which hold thegloves quite in nineteenth-century fashion, arebeautifully drawn. A little further on hangs oneof his early works, The Kermis. We pass a thoroughly Italian work that seemsvery much out of keeping with its immediate sur-roundings. It is Abraham Bloemaerts somewhatglassy, The Festival of Gods in honour of theWedding of Peleus. Jan van Goyen is shown in
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XTbe Ibague Galleries 313 a characteristic View of Dordrecht, and in anunusual marine with stormy waves. J. M. Mol-enaer has a Merry Party, and on the oppositewall five small panels, each depicting one of thefive senses. These were plainly painted under theinfluence of Frans Hals and Adr. Brouwer. The Music-lovers, by Metsu (Plate XXIV),gives us one of his intimate peeps into the worldof leisure of the patrician class. The stately apart-ment with its rich appointments, and the elegantcostumes, of the man for street wear, of the womenfor the boudoir, are well rendered in the artistscareful and yet broad handling. The surfaces aremodelled, the textures and solidities indicated, witha decisive touch. In one of the numerous exampleswhich the Mauritshuis shows of Phil. Wouwermanwe see a Riding School, where an equestrianputs his steed through its paces before a lady, seatedin a carriage drawn by six gray horses. Land-scapes by Jacob van Ruisdael, Berchem, and Wy-nants are not of their impo

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