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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
one, graduated with exquisite art, yet invari-ably just in their values. While Hals is boisterousin the bravura of painting, Terborchs brio is moresubtle, less emotional, though none the less vivid.The difference of subjects is no distinction. Eachpainted his own. The common types of Hals ac-corded with the masters predilection. Terborch,by birth and breeding an aristocrat, painted theelegant manners of the beau-monde. He came from an old family of Zwolle, in theprovince of Overysel, where his father was a manof wealth and culture, himself an amateur of art.Gerards early talent was carefully fostered by hisfather, who sent him first to Amsterdam, but aftera short stay there to Haarlem, where Pieter Molyn,and later Frans Hals, were his instructors. At theinstigation of Molyn, English born, he went toLondon in the beginning of 1635. A letter ofadvice and counsel, which the elder Terborch wroteto his son, is typical of Dutch character of the time.He wrote: Draw constantly, and especially
Text Appearing After Image:
Ubc (Benre patnters 97 choose large compositions with much action inthem. When you paint, treat modern subjects asmuch as possible. Have regard to purity and fresh-ness of colouring, that your colours may harmonizewhen they are dried. Above all, serve God, behonest, humble, and useful to all, and your affairswill turn out well. From London he journeyed through France toItaly, where he studied Titian and other masters,without submitting his development to these ex-traneous influences, or being seduced to imitation.His was a logical self-unfolding of inherent talent,arriving at his maturity through the growth ofindividual conceptions. He remained Dutch incharacter, in subjects, and in technic. After a fewyears in Amsterdam, where Rembrandt impressedhim and revealed to him the possibilities of thelight of interiors, he went in 1646 tO Munster, thenthe political centre of Europe, where diplomatsfrom all courts were gathered, as well as the dele-gates to the congress which concluded in 164

Note About Images