THE GENRE PAINTERS: This heading embraces those who may be called the
"Little Dutchmen," because of the small scale of their pictures and their
genre subjects.
Gerard Dou (1613-1675) is indicative of the class
without fully representing it. He was a pupil of Rembrandt, but his work gave
little report of this. It was smaller, more delicate in detail, more petty in
conception. He was a man great in little things, one who wasted strength on the
minutiæ of dress, or table-cloth,
Single Piece Paintigns, or the texture of furniture without grasping
the mass or color significance of the whole scene. There was infinite detail
about his work, and that gave it popularity; but as art it held, and holds
to-day, little higher place than the work of
Metsu (1630-1667),
Van
Mieris (1635-1681),
Netscher (1639-1684), or
Schalcken
(1643-1706), all of whom produced the interior piece with figures elaborate in
accidental effects.
Van Ostade (1610-1685), though dealing with the small
canvas,
cheap oil paintings, and portraying peasant life with perhaps unnecessary coarseness, was a
much stronger painter than the men just mentioned. He was the favorite pupil of
Hals and the master of Jan Steen. With little delicacy in choice of subject he
had much delicacy in color, taste in arrangement, and skill in handling. His
brush was precise but not finical.
FIG. 83.—J. VAN RUISDAEL.
LANDSCAPE.
By far the best painter among all the "Little Dutchmen" was
Terburg
(1617?-1681), a painter of interiors, small portraits, conversation pictures,
and the like. Though of diminutive scale his work has the largeness of view
characteristic of genius, and the skilled technic of a thorough craftsman.
oil painting reproductions Terburg was a travelled man, visiting Italy, where he studied Titian, returning
to Holland to study Rembrandt, finally at Madrid studying Velasquez. He was a
painter of much culture, and the keynote of his art is refinement. Quiet and
dignified he carried taste through all branches of his art. In subject he was
rather elevated, in color subdued with broken tones, in composition simple, in
brush-work sure,
modern abstract oil painting, vivacious, and yet unobtrusive. Selection in his characters was
followed by reserve in using them. Detail was not very apparent. A few people
with some accessory objects were all that he required to make a picture. Perhaps
his best qualities appear in a number of small portraits remarkable for their
distinction and aristocratic grace.
frames for oil paintings
Steen (1626?-1679) was almost the opposite of Terburg, a man of
sarcastic flings and coarse humor who satirized his own time with little
reserve. He developed under Hals and Van Ostade, favoring the latter in his
interiors, family scenes, and drunken debauches. He was a master of physiognomy,
and depicted it with rare if rather unpleasant truth. If he had little
refinement in his themes he certainly handled them as a painter with delicacy.
At his best his many figured groups were exceedingly well composed,
reproduction oil paintings uk, his color
was of good quality (with a fondness for yellows), and his brush was as limpid
and graceful as though painting angels instead of Dutch boors. He was really one
of the fine brushmen of Holland, a man greatly admired by Sir Joshua Reynolds,
and many an artist since; but not a man of high intellectual pitch as compared
with Terburg, for instance.
cheap oil paintings on canvas
Pieter de Hooghe (1632?-1681) was a painter of purely pictorial
effects, beginning and ending a picture in a scheme of color, atmosphere, clever
composition, and above all the play of light-and-shade. He was one of the early
masters of full sunlight, painting it falling across a court-yard or streaming
through a window with marvellous truth and poetry. His subjects were commonplace
enough. An interior with a figure or two in the middle distance, and a
passage-way leading into a lighted background were sufficient for him. These
formed a skeleton which he clothed in a half-tone shadow,
oil paintings on canvas for sale, pierced with warm
yellow light, enriched with rare colors, usually garnet reds and deep yellows
repeated in the different planes, and surrounded with a subtle pervading
atmosphere. As a brushman he was easy but not distinguished, and often his
drawing was not correct; but in the placing of color masses and in composing by
color and light he was a master of the first rank. Little is known about his
life. He probably formed himself on Fabritius or Rembrandt at second-hand, but
little trace of the latter is apparent in his work. He seems not to have
achieved much fame until late years, and then rather in England than in his own
country.
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