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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e Bakhuyzen (born 1835), has given us fine wooded interiors that are reminiscent of Ruisdael. He was a nature painter with romantic tendencies. Jacobus van Gorkom (1827-1880) painted landscapes, sometimes with meandering streams, and J. E. van Heemskerck van Beest (1828-1894) turned to the turbulent ocean for inspiration. His storm views are as impressive as those of Jules Dupré. Still belonging to this section of the Dutch artists of the 19th century are two men whose subjects are thoroughly indigenous to Holland, one a cattle painter, the other one painting interiors. They possess, however, in their technic, in no wise the characteristics of the modern school. Hendrik Valkenburg (1826-1896) gives clear and brightly coloured views of the neat interiors of Dutch peasant houses. He loved to depict the crucial moment when the farmer boy is asking mothers consent, while his sweetheart is quizzically looking on. These are attractive compositions, but they lack the higher qualities of art. They are
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NICOLAAS MAES THE ENDLESS PRAYER Plate XXII (See page 223) Amsterdam I Xlbe nf Century Dutcb painters 169 chromo-like and by their sugary-sweetness weari-some. In his later years he had friendship with Mauve, from whom he learned much to his own improvement. Pieter Stortenbeker (1828-1898) was an eminent cattle painter in his day. His knowledge of the anatomy of his models is unsurpassed, but he lacks the atmospheric quality for which we should look. He is hard and flat in his colouring and belongs truly to that style of which Verboeckhoven was the eminent exponent. But the men were being born who were to recall the glories of the golden age. Not by imitating what the old masters had done, but by heeding the lessons these had taught, and applying these lessons to their subjects as their modern eyes saw them. They used Rembrandts light, but in their own way; they used Hals freedom of brush, but in their ownmanner. It was a reappearance of artistic genius, influenced by changed environment. They prov

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