THE HISTORY OP AET. 



IS0 



of 



figureo intornpersed. He was also fond of hunting scenes and 



.''e. Like raont other Datoh artists, Cuyp paint 

 mir.nto oare and ac- 

 curacy, and most of 

 his pieces are finished 

 in execution to an un- 

 usual degree. 

 Philip Wonvcn 

 Haarlem 

 was also a <lis- 

 representa- 



tive of the I "ut.lt 

 school. Ho had, how- 

 ever, far moro versa- 

 tility than most of his 

 contempt. riri.--. ;m.'. he 

 was distinguished by a 

 great deal of verve and 

 a comparatively (lush- 

 ing style. Landscape 

 was tho central point 

 of Wouvermans' art, 

 but he also painted 

 many boar-hunts and 

 other similar sporting 

 scenes, besides several 

 battle pieces. About 

 the same time lived 

 tho two Vanderveldes, 

 father and son, who 

 devoted themselves to 

 7 n urine painting, and 

 who have left on canvas 

 for us the cumbrous 

 old men-of-war of the 

 period of Charles II. 

 Both of them settled in 

 England, where most 

 of their sea pieces are 

 still to be found. Per- 

 haps, however, the 

 most typical of all 



the Dutch school of HEMHRANDT. 



painters was Gerard 



Douw, of Leyden (1613-1675), a pupil of Rembrandt, and 

 probably the second in rank after that great master amongst all 

 the artists of 

 the Nether- 

 lands. His pic- 

 tures are usu- 

 ally small, but 

 they have the 

 characteristic 

 Dutch elabora- 

 tion carried to 

 the very high- 

 est degree, and 

 are marvels of 

 minute patience 

 and careful 



finish. " They i 



showed house- 

 hold incidents, 

 mostly of a 

 culinary kind, 

 and expressed, 

 in a quiet unos- 

 tentatious way, 

 domestic pence, 

 or even j>i< ty, 

 which procured 

 for their au- 

 thor, even in 

 his own time, 

 both wealth and 





LANDSCAPE. (By Cuyp.) 



Rnyfldael, of Haarlem, a distinguished landscape paii.ter, 

 ly celebrated for his waterfalls, cannot be pawed over, 



eren in no rapid a 

 ketch; and hi* pupil, 

 Hobbema (1638-1687), 

 who also devoted him- 

 self to landscape, wu 

 likewise characteristic- 

 ally Dutch in his treat* 

 ment. Hobbema, al- 

 though one of the firxt 

 of Dutch landscape 

 painters, remained al- 

 most unknown among 

 his countrymen for 

 nearly a hundred years, 

 and England seems to 

 have been the first to 

 recognise his merit. 



Flower-painting and 

 still life were always 

 favourite Dutch sub- 

 jects, often treated 

 with all the careful and 

 painstaking detail of 

 a miniature. One of the 

 first to devote himself 

 exclusively to flower- 

 painting was David de 

 Heem (1603-1674), who 

 was followed by his son, 

 Cornelius de Heem. 

 Other notable painters 

 were Maria Van Oster- 

 wyck (1630-1693), and 

 Jan Van Huysum 

 (1682-1749). The de- 

 tail and finish in this 

 last painter's works 

 were remarkable. The 

 two Weenixes, also, 

 father and son, espe- 

 cially excelled in paint- 

 ing flowers and still 



life. The elder Weenix was celebrated for his pictures of 

 birds, the younger for his admirable representations of dead 



game. Indeed, 

 the seventeenth 

 century in Hol- 

 land is rich 

 throughout in 

 the names of 

 distinguished 

 artists, all be- 

 longing to a 

 school narrow- 

 ly limited in 

 point of style, 

 it is true, 

 but marked 

 throughout by 

 a very high cha- 

 racter of exe 

 cution. There 

 is little origi- 

 nality, and still 

 less spirit or 

 ideality, in 

 Dutch art, but 

 there are the 

 very best quali- 

 ties of hand 

 and eye. A 

 trifle mechani- 



cal in design, 



reputation." One of the largest and most important of his few the painters of the Netherlands are yet minutely and patiently 

 sacred subjects is the blind Tobit going to meet his son, a accurate in their delineition of nature j and it is such workman- 

 picture which is in the possession of Lord Arundel. s<hip that gives so high a value to the works of their best age. 



