Dutch Art in the Nineteenth Century. Gerharda Hermina Marius

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       Gerharda Hermina Marius

      Dutch Art in the Nineteenth Century

      Published by Good Press, 2021

       [email protected]

      EAN 4064066467289

Table of Contents

       Dutch Art in the Nineteenth Century — Frontpage

       Introductory

       The History-painters

       The Romanticists

       The Landscape and Genre Painters

       The Forerunners of the Hague School

       The Masters of the Cabinet Picture

       The Hague School: Introduction

       Intermezzo

       The Hague School: Sequel

       The Younger Masters of the Hague School

       The Reaction of the Younger Painters of Amsterdam

       The New Formula

      Dutch Art in the Nineteenth Century — Frontpage

       Table of Contents

       BY G. HERMINE MARIUS TRANSLATED

      BY ALEXANDER TEIXEIRA DE MATTOS

       with a photogravure and

       130 reproductions in half-tone

       LONDON ALEXANDER MORING LIMITED (THE DE LA MORE

       PRESS) 32 GEORGE STREET, HANOVER SQUARE, W. - 1908

I.	Introductory
II.	The History-painters
III.	The Romanticists
IV.	The Landscape and Genre Painters
V.	The Forerunners of the Hague School
VI.	The Masters of the Cabinet Picture
VII.	The Hague School: Introduction
VIII.	Intermezzo
IX.	The Hague School: Sequel
X.	The Younger Masters of the Hague School
XI.	The Reaction of the Younger Painters of Amsterdam
XII.	The New Formula

      Introductory

       Table of Contents

       CHAPTER I Introductory

       The seventeenth century bequeathed to the eighteenth three painters all of whom and two in particular heralded the spirit of the new age in matters of conception, colour and execution. The greatest of the three, Jacob de Wit, who was called the Rubens of his time, is esteemed as an historical painter he executed a part of the Orange Room at the House in the Wood and is world-famous for his painted bas-reliefs, the so-called witjes, in the Royal Palace in Amsterdam and elsewhere. These not only excel as extraordinary imitations of marble, to which De Wit owes his popularity, but the natural attitudes and grouping of the cherubs prove him to be, without a doubt, the greatest Dutch decorative artist of the eighteenth century. The second was Jan M. Quinckhard, who, as Van der Willigen says, "was a very good, yes, we venture to say, in many respects an excellent portrait-painter; he was particularly fortunate in his likenesses, his drawing was accurate, his brushwork good and his colouring soft and delicate." He, like De Wit, belongs entirely to the eighteenth century in ideas and his work did little to contribute towards the transition of the painted portrait from the seventeenth century to the nineteenth. The same may be said of the third painter, Cornelis Troost, who, in spite of certain drawings that remind us of the seventeenth century and, in particular, of the somewhat artificial elegance of Nicolaas Maes, was essentially a man of his time. All his work in various mediums is too strongly imbued with the eighteenth-century spirit to permit us to regard him as a result or consequence of the previous century. Not that he can have troubled much about the matter, for abundant fame was his portion, so much so that he was known, in his day, as the Dutch Hogarth, a comparison which, like most of its kind, contained but a minimum of truth.

      If, nevertheless, we insist upon considering these three painters as offshoots of our great century, then we must needs add that they were the last effort of an exhausted soil. The art of painting declined into the art of decoration or scene-painting, the painter's workshop was transformed into the tapestry-factory. The minute, concentrated charm of our so-called little masters expanded itself into painted hangings; the stately portraits of the time degenerated, with few exceptions, into the pale, powdered pastels that seemed deliberately designed for the representation of the caricatural periwig.

      Still, if only for the reason that the eighteenth