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A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14595113269)
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14589744067)
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14758785646)
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14589738727)
Geschiedenis geeft de Schilderkunst een schrijfveer om de geschiedenissen van de Nederlandse vorsten op te tekenen
Geschiedenis geeft de Schilderkunst een schrijfveer om de geschiedenissen van de Nederlandse vorsten op te tekenen
Geschiedenis geeft de Schilderkunst een schrijfveer om de geschiedenissen van de Nederlandse vorsten op te tekenen
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14782650225)
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters; in which is included a short biographical notice of the artists, with a copious description of their (14589740097)
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 (1908) (14587264649)
Summary
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
Text Appearing Before Image:
s of his art are in theNetherland Galleries, many more are in foreigncollections, notably in England. One who formed himself by the example of Cuypand of Salome van Ruysdael was the Amsterdam-mer Aert van der Neer (1603-1677). He paintedwaterscapes, by preference reflecting silvery moon-light, or the fiery glow of a conflagration, and alsowinter scenes with figures on the ice. In his latestyears he became somewhat superficial, but, bar this,his touch was dainty and spirited. Strangely he waswithout recognition during his life and died verypoor. We must yet note in Utrecht Cornells Saft-leven (i606-1681), a scholar in van Goyens studio,who painted agreeable little river views with a finebrush. His art, though conventional, is delightfulin its way. He also devoted himself to portraitureand allegory. We find now gradually a tendency appearingamong some of the younger men to travel to Italy,where they became naturally influenced in their pre-sentation of nature by the Southern spirit. The
Text Appearing After Image:
GEHRIG-DOU THE YOUNG MOTHER Plate XVII(See page 325) MauritshuisThe Hague Hbe Otaubscape iC^ainterd 12$ landscape school of the century becomes now di-vided between those who were independent andnational, and those who became Italianized, andwere the cause of the ultimate decadence of the artof that glorious age. The beginning of landscapepainting in its truly national form has now beendiscussed; we will continue this thread by followingthose who remained true to their country, amongwhom the greatest Of all are to be found. After-wards we will return to those who submitted toforeign influences. Filips Koninck (1619-1688), born in Amster-dam, studied with Rembrandt and devoted himselfmost to landscape, only a few portraits by himbeing known. He received from his master thatprepossession for distance and perspective which isso noticeable in Rembrandts Three Trees. Hisexpansive views, embracing great tracts of country, .as seen from a height, with the sand-dunes in thefar distance lighte
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.