Identifier: artofnetherlandg00prey (find matches)
Title: The art of 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: 1908 (1900s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : L.C. Page & Co.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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ality and contem-porary expression seems to breathe the Frenchmansdictum, le moderne, il ny que qa. They areracy of the soil, indigenous, and distinctly imbuedwith the Zeitgeist, there is nothing of decadenceabout them. They are strong, virile, clear-eyed,frank and wholesome — well-nigh perfect in tech-nical mastery. They may have been inspired by their forebears,or even by their immediate predecessors of thethirties, the Barbizon men. But they did not followthis latter art movement blindly. They developedit along their own way. And this individuality hasbeen the source of their strength, where bald imi-tation would have spelt destruction. They neverattempted that scumbling, glazing, and reworkingwhich was the bane of many American painters ofa score of years ago, even yet followed by some,to produce the effects acquired by the men thatworked at Fontainebleau. Theirs is simple, indi-vidual work, done in sincerity and serious en-deavour. And yet — the Dutch School will not last for
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JAN yrEEN THE DOCTORS VISIT Plate XXVII(See page 269) Ryks MuseumAmsterdam Zbc fIff Century H)utcb ipainters 209 ever. What will follow? and carry on the artflame in historic succession? The answer comesready to pen. Many American landscape paintersare giving signs of these very qualities that havemade the Dutch School great — simple, individualwork; sincerity and serious endeavour, breathingthe flavour of their own soil with its myriad mani-festations of peculiar and characteristic beauty.Those who have abandoned the ill-advised effortsto manufacture tonality by heavy varnishes, glazesand raw umber, and express themselves in the purecolours of our clear atmosphere are rapidly forgingahead. Whether they show us the Connecticuthillside or pine dunes, the sun-shimmering Westernplains, or the gorgeous Colorado canon — the mar-vellous variety and the riches of these fields ofinspiration are being depicted by our men withever-increasing strength and sympathy. Many ofour figure painters

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