Identifier: netherlandgaller00prey (find matches)
Title: 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: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : St. Botolph Society
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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ague in 1874 theold love of art rekindled and he became enchantedwith the works of Israels, the Maris brothers, Bos-boom, and Mauve. Although he had lost the bestyears of preparation, he took up anew the brushand palette and with determination entered uponhis artistic career. The large number of works,mostly sheep paintings, which he produced, resem-ble in subject those of Mauve, but are still entirelypersonal in conception and distinct in colour andgeneral effect. Theophile de Bock (1851-1904) began life in theemploy of a railway company, but he quickly re-linquished this position for the practice of art, inwhich he was initiated by Weissenbruch. Afterassiduously pursuing his studies he sent a paintingto a Hague exhibition, where it was accepted, buton opening day it was immediately dubbed thatugly gray thing. There it hung, a butt of gibes,until Jacob Maris, just returned from France, pur-chased it. This somewhat changed the tone of ridi-cule. Maris was so far attracted to the young
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JAN VERMEERVAN DELFT THE KITCHEN MAID Plate xxv(See page 257) Ryks MuseumAmsterdam XTbe fHf Century 2>utcb painters i93 artist that he took de Bock into his studio, andafter a few years advised him to go to Fontaine-bleau. There the Barbizon atmosphere greatly cap-tivated the Hollander, without materially affectinghis individuality. On his return to Holland hepainted on the Drenthe heaths and the downs nearThe Hague, where he found those rough-shapedbeeches and birches, which are so effectively intro-duced in his landscapes. He was a rapid transcriberof the impressions nature gave him. His work isintensely personal, and his fame has greatly aug-mented, principally in America — alas, not untilafter the master laid down his brushes. Having noted the leading men, born in the firsthalf of the last century, who have contributed tothe revival of Dutch art, the majority of whombelong now to the immediate past, I must enumer-ate a number of artists, born in the second half ofthat century

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