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

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o later became renowned. B. J. van Hove (1790-1880) produced some good city views, and his son, {Hubertus van Hove (1814-1865), interiors. The son of Hubertus, Bart van Hove (born 1850), is today Hollands leading sculptor. Two of the Krusemans have also been eminent teachers. Cornelis Kruseman (1797-1857) and his son, Jan A. Kruseman (1804-1862), were both portrait painters. Cornelis has also given examples of historical genre, where he was particularly successful in his female figures. Jan Adam went to Paris and was befriended by David. Frans B. de Groot (1796-1875), owing to his development late in life, painted his marines more in the style of the Romanticists. An artist who belongs to the Dutch school as much asWhistler or Sargent belongs to the American — that is, not at all — was Ary Scheffer (1795-1858). He was born in Holland, but was taken by his mother, very early in life, to Paris, where he lived and died. His art was French —academic to the core. At first painting small genre,
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hJ J i-i § ;c IH ^1 2lJ ^ W b/) H < OJ & PL, W N^ K H XTbe fITf Century Dutch iPafntera i6i he became later more ambitious, executing large figure pieces, in which he showed a strong leaning towards the pathetic and emotional vein. A journey through Holland in middle age, where he studied Rembrandt and the masters, had a great influence upon him, but he never could shake of if Davids thrall. Scheffers taste was refined and elevated, his drawing correct, but he lacked the genius whereby David infused the fire of life into an art which in his followers is merely coldly rhetorical. With the dawn of the 19th century came the era of noble discontent, the dawn of revolt. And revolt always stirs, awakens, calls forth action. In art it was the reaction against the too sculptural tendencies of the academicians, in whose hands art had become a thing of metes and bounds and measurements and geometric theorems. The revolt was inaugurated by the so-called Romanticists, led by Eugene Delacroix, ag

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