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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his Utrecht teacher (note a painting nowin Berlin), he emancipated himself completely, andhis later portraits excel in warm colour and round-ness of form, which is indicated more by the man-agement of the colour than by the sharpness of line.He was sent by Philip of Spain to England topaint the portrait of Mary Tudor, which is stillone of the prizes in the Hampton Court collection,and for which he was made Sir Anthony More.After Marys death he became court painter inMadrid, as Antonio Moro. A number of his por-traits in the Prado proclaim him the master ofhis craft. Wherever his work is to be seen, in TheHague, in Vienna, Paris, Brussels, St. Petersburg,or in private collections in England, one must ac-credit him as one of the greatest painters who hadthus far appeared. He was highly paid for hiswork, receiving from one hundred to two hundredducats in Spain, and one hundred pounds in Eng-land. His cosmopolitan residence has left only afew of his paintings in his native land, where his
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Before IRembranot 33 Portrait of a Goldsmith, in the Mauritshuis,shows him at his best. The last painter formed under Italian influenceswas Anthony van Blokland (1532-1585), who,after studying in Antwerp, settled in Delft. Hedevoted himself to religious subjects, so that mostof his work is lost. The museums of Dordrechtand of Gouda each possess one of his paintings. But it was not in the nature of the Dutch paint-ers to be followers. The Italians themselvesclaimed to learn only from nature, and Leonardoda Vinci had already proclaimed that one whofollows a great master is not a son, but a grandsonof nature, and that the true artist must studyand follow nature alone. Only in this way worksare wrought of abiding force and vitality. The spirit of liberty which in the middle of the16th century was awakening among the Dutchmanifested itself also among the artists. They,too, desired independence, and they sought for self-expression, unhampered by foreign domination.They sought this in their

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