CHAPTER XII
JACOB VAN RUISDAEL
There is a tendency to identify Jacob van Ruisdael too exclusively with his pictures of mountainous scenery and rocky waterfalls; hence to speak of him as a romantic painter. But the true Ruisdael must be sought elsewhere. These romantic subjects belong to his latest period, in the seventies, when the indifference shown by the public to his own manner had induced him to imitate that of Everdingen’s Swedish landscape, and of the pictures of Swiss scenery by Roghman and Hackaert. How superior he was to Everdingen, we have already noticed[F] in comparing the examples of these two men that hang close together in the Munich Pinakothek. Ruisdael’s knowledge of and feeling for form, his power of construction not only of the details but also of the ensemble, his mastery of sky and cloud effects, and, above all, his individual and powerful personality combine to produce in these scenes of wild solitude with their plunging cataracts a suggestion as of great organ music, beside which Everdingen’s pictures have only the tinkle of picturesqueness. Yet while Ruisdael, as was to be expected, was superior to Everdingen, he is in these pictures inferior to himself. That his health was failing may possibly account for it; that he painted on dark grounds and the black has in many cases come through and dulled the resonance of the colors, overdarkening the shadows, is another reason; but the chief one is to be found in his changed attitude. He was no longer drawing his inspiration direct from nature itself.
The finer examples of his latest style, such as the _Landscape with Waterfall_ of the National Gallery, still exhibit his power in rendering the movement and the mass of water, while others are impregnated with that solitary grandeur which was a characteristic quality of his genius. But it is in these instances touched with moroseness, with something possibly of the sentimental sorrows of a Werther. The great artist, whose lonely bachelor life had been spent in meditating upon the bigness of nature, was now brooding over the littleness of the world’s appreciation of himself; introspection had taken the place of that large looking out upon the world which hitherto had been the habit of his life. These romantic subjects, in fact, represent the waning of his powers; for the complete revelation of his genius we must look elsewhere, beyond the invented landscapes, to those in which nature itself has inspired the mood which dominates its interpretation.
Meanwhile let us glance at the brief facts of the artist’s life. He was born in Haarlem, in 1628 or 1629, the son of a picture-frame maker, and nephew of Salomon van Ruisdael, who was probably his teacher. At about the age of twenty he was enrolled in the Haarlem Guild of St. Luke. Some years later he settled in Amsterdam and was admitted to the rights of citizenship.
Among his pupils at this period was Meindert Hobbema. At the age of fifty-three he returned to his native city, broken in health and without means of subsistence, and through the intervention of some friends of the Mennonite faith was given refuge in the poorhouse. Here he lingered a few months and died in 1682, one more example among so many in the story of Dutch painting of an artist dying in poverty. This is the ugly side of the story. In telling it we have tried to do justice to the part played by the young republic, out of whose hard-won nationality a great school of artists grew; but at the same time we have not overlooked the quick decadence of national and social spirit that followed upon the attainment of political liberty. And of this sapping of the morality of the people the indifference paid to her great artists was not the least notable symptom.
Ruisdael’s youth and the prime of his manhood were spent in studying the wooded dunes, open country, seashore, and large stretches of water in the neighborhood of Haarlem and Amsterdam. These supplied the subjects for his finest and most characteristic pictures, while others suggest that he traveled in different parts of Holland and even penetrated into the neighboring German principality of Münster, a hilly country with forests and old castles: witness _Castle Bentheim_ of the Dresden Gallery. The dated pictures are comparatively rare and belong chiefly to Ruisdael’s earliest period, but it is possible to assign approximate dates to many later ones through examination of the figures which were introduced by other artists. As Bode points out, those to which Adriaen van Ostade, Nicolaes Berchem, and Wouwerman contributed may with much probability be assigned to the Haarlem period, which terminated about 1655; on the other hand, when, among the Amsterdam artists, Adriaen van de Velde was his collaborator, the picture must antedate that artist’s death in 1672.
Like all the greatest artists of landscape, Ruisdael was a close student of form, his drawings and etchings being often so conscientious in treatment as to suggest that he was something of a botanist. At any rate, few men have shown a more thorough knowledge of trees, their character of bulk and build, their branch-growths and manner of leafage, while the same constructive sense appears in his delineation of ground, rocks, water, and in that final test of great landscape-painting, the comprehension and rendering of skies. In his earlier work this preoccupation with form results in an excess of detail and a considerable tightness and hardness of method, as may be observed in the little _Village in the Wood_ of the Dresden Gallery.
Later his works acquire breadth; details are treated more freely and are less obtrusive; the feeling for ensemble is more complete. And corresponding with this ampler motive is a clearer eye for the local colors, a richer and fuller tonality. Then, by degrees, the true Ruisdael discovers himself. As we know him in the finest works of the Amsterdam period, his genius is declared in the amplitude of his conception of nature. We are in the presence of one who has comprehended the vastness of its suggestion, and entered into it, merging therein the pettiness of personality. At these great moments it would be hard to mention a landscape-painter whose outlook is larger, freer, and more impersonal than Ruisdael’s, whose attitude is more truly epic; usually with an ample expression of serene benignity, but, even when there is stir of conflict, with an all-embracing vision that merges the accidental in the universal.
In the attainment of this magnificent composure it is the skies that play the greatest part. They occupy a large, often the larger, portion of the canvas. They are not only expanses of light, contrasted with the darker tones of the ground, as in the case of most Holland landscapes, but are pervaded with vibrating atmosphere that, while it penetrates to the front, seems to communicate with endless space. To this element of universal suggestion is added the stimulus of the poised or drifting cloud-forms. They are not merely shapes of vapor, but have bulk and weight and carrying power. They are to the fluid mass of the sky what the wave is to the ocean: a manifestation of its boundless energies. While to him the ground and its forms of tree and rock or dune are symbols of stability and static force, the sky is symbol of dynamic energy unbounded. It is because Ruisdael thus felt and could interpret the symbolism of nature that his finest landscapes and marines create and maintain so profound an impression.
Among the pictures prior to 1655 is _View of Haarlem from the Hill of Overveen_, a subject by which Ruisdael seems to have trained and disciplined himself, for he often repeated it. There are said to be twenty examples, some of which are in the galleries of The Hague and Berlin, in the Rijks Museum, and used to be included in the Holford and Kann collections. From the elevation in the foreground one looks down and across a stretch of level country, broken up with trees and houses and a field where strips of linen are bleaching, to the city, over which rises the mass of the Groote Kerk, St. Bavon. But two thirds of the canvas is given to the sky. The picture presents an elaborate study in the art of ground-and sky-construction, in the difficult differentiation of the planes of a level country, and in building the sky’s volume and depth. Already there are distance and spaciousness, but as yet little expression, while, in the case of the Berlin example especially, the technique is still a trifle hard and dry.
But, without attempting any chronological order, turn to _The Beach_ at the Hague Gallery, a replica of which, _Shore at Scheveningen_, is in the National Gallery, while there are others elsewhere. A cliff projects on the right; otherwise the water, dotted with wading figures and sail-boats, extends clear back from the front to a low horizon, above which is a sky piled and scattered with loose, buoyant clouds. There is wind in them, and it ruffles the long reaches of waves that glide in over the sand. Here is freedom not only of brushwork but of imagination, which has been stirred by the sense of vastness and of movement. The sea itself spreads far and is alive with briskness, but in the endless distance of the sky the clouds are moving grandly. This picture already gives the clue to Ruisdael’s fully developed genius. It prefigures his capacity to comprehend the big in nature; to go out to it and mingle with it; to find it, not in stupendous spectacles, but in the sense of vastness that even familiar scenes may convey to one who realizes and
feels the bigness in nature everywhere about us. For compare _The Mill near Wyk-by-Duurstede_, Ruisdael’s masterpiece in the Rijks Museum. Familiar enough in Holland are the ingredients of this scene: gray water, gray lowering sky, olive-green, brown, and pale-buff ground and trees, a gleam of light on the body of the mill; yet with what a majesty of conception they are clothed! Everything is heightened and made poignantly compelling by a beautiful, tremendous dignity.
Nor was it only under aspects of stirring movement that Ruisdael found bigness. He could find it in calm: witness _The Swamp in the Wood_, in St. Petersburg, and the _Oak Wood_ of the Berlin Gallery. In front, pale amber-green lily-pads, floating on depths of olive-green water, in the mingled light and shade of rich, somber golden-green and ruddy foliage; distant water and dunes, and over all a sky in which balloons of clouds hang drowsily. It recalls another masterpiece, this time of the Imperial Art-History Museum, Vienna, _The Big Wood_. Again a clump of oaks and a shattered silver birch, massed high and wide against a sky of wonderful luminosity. Everything is simplicity itself, yet expresses magisterial authority. The amplitude of conception on this occasion has no trace of stress or poignancy, nor is it one of calm; it is buoyant with a glorious joyousness.
Another remarkable example, heightened into grandeur by impulse of the imagination, is the _Landscape with Fence_, in the Vienna Academy: a bit of sloping ground with some wooden sheep-cotes and a willow. But the light from a dull-gray slaty sky pales upon the willow and gleams with a strange whiteness on the boards of the fence. The picture, moreover, is painted with unerring mastery of form and splendid fluency, which, combined with its startling arrangement of light, produces an effect of extraordinary impressiveness.
By a method of lighting, somewhat similar, a mood of profound and bitter melancholy has been interpreted in _The Jewish Cemetery_ of the Dresden Gallery. In the murk of the distance a ruin glooms gauntly under a heavy purplish slaty sky, where a faint rainbow shows amid the turbid clouds. In the foreground a blasted tree-trunk cuts white against a dull mass of trees; but the brightest light, pallid and cold, is concentrated upon one of a group of tombs. The stillness is broken by a stream that shatters itself on the stones and rushes on. Is this solemn picture an allegory of Ruisdael’s own darkened life and its approaching end? Possibly, for his signature, undated, appears upon a tombstone on the left.
The examples quoted above are fairly representative of an artist who handled the prose of nature with so large a sense of its significance that he lifts it up to poetry, of epic and occasionally tragic grandeur. For Ruisdael, like Rembrandt, saw into the soul of facts. That in a period of fifty years or thereabouts a school of artists could be formed, wherein there are so many excellent craftsmen, not a few masters of technique and expression, and two great masters of the soul, is a marvelous record. Such was Holland’s legacy of the seventeenth century to the civilization of the modern world.
INDEX
A
_Abraham Receiving the Angels_ [Bol], 154
Actor’s instinct in art, 75
_Adoration of the Shepherds_ [Rembrandt], 103, 159
Aertz, Pieter, 19; studied at Amsterdam, 43
Albert, Archduke, 45
Altman, Mr. B., owner of _The Sleeping Girl_ [Vermeer], 136
Alva, Duke of, 22, 23, 46
Amsterdam, school of painting, 38, 43; artists born there: Aertz, 107; Eeckhout, 158; De Keyser, 165; Koninck, 172; Adriaen van de Velde, 184; school of: Scovel, 16; Rembrandt, 73; Maes, 115; Metsu, 117; Fabritius, 157; Eeckhout, 158; De Gelder, 160; De Keyser, 165; Koninck, 170; Hobbema, 190; residence of: Rembrandt, 76; Aertz, 107; Van Ostade, 109; Lairesse, 125; De Keyser, 165; Seghers, 170; Koninck, 170; Van der Neer, 176; Potter, 179; Van de Velde, Willem, Elder and Younger, 186; Van de Velde, Adriaen, 184; Berchem, 184; Hobbema, 190; Ruisdael, Jacob, 194
_Angel and the Shepherds_ [Flinck], 152
Antwerp, glory of, 7; “Image-Breaking” at, 22; school of painting, 22; birthplace of Hals, 50
Antwerp Museum, _Day of Judgment_ [Van Orley], 15
Art: the need of the people, 4; French at time of Revolution, 5; imitation death of national art, 6; decline of Dutch in eighteenth century, 6; affected by imperialism, influenced by Church, 11; by Renaissance, 12; condition at abdication of Charles V, 14; realism of Dutch, 27; moral and scientific character of, 28; commencement of great period of, 29; still-life, 31; portraiture, 49; beauty of inanimate things, 59; democratic ideal of Dutch, 72; Rembrandt’s compared to Greek, 72; actor’s instinct shown by painters, 75; abstract in, 94; decorative, 94; Barbizon, 171
Art-History Museum, Vienna. See _Vienna_
_Artist in his Studio_ [Vermeer], 140
_Asking a Blessing_ [Maes], 114
Asselyn, Jan, 44; _Enraged Swan, The_, 44
_Avenue of Middelharnis_ [Hobbema], 191
B
Bakhuysen, Ludolf, 44
Balckeneijnde, Adriana, wife of Paul Potter, 179
_Bank of a Canal_ [Van Goyen], 188
_Banquet of the Civic Guard_ [Van der Helst], 164
_Banquet of the Officers of the Archers of St. Andrew_ [Hals], 66
_Banquet of the Officers of the Archers of St. George_ [Hals], 64
_Banquet of the Officers of the Archers of St. George_ [Hals], 65
Barbizon artists, 171
Bartholdi’s Statue of Liberty, 87
_Beach, The_ [Jacob van Ruisdael], 198
_Bear Hunt, The_ [Potter], 180
Bega, Cornelis, 110
“Beggars, The,” 21
“Beggars of the Sea,” 23
Berchem, Nicolaes, 30, 39, 43, 174, 178, 184, 195
Berlaymont, 21
Berlin: pictures in gallery: _St. Jerome in a Cave_, Rembrandt, 76; _Portrait of Himself_, Rembrandt, 78; _Portrait of Hendrickje Stoffels_, Rembrandt, 89; _Old Woman Peeling Apples_, Maes, 115; _Portrait of Old Woman_, Metsu, 118; _Family Geelvink_, Metsu, 120; _The Mother_, De Hooch, 121; _The Concert_, Terborch, 130; _Diana with her Nymphs_, Vermeer, 135; _Lady with a Pearl Necklace_, Vermeer, 138; _The Christening Party_, Steen, 146; _Portrait of a Young Woman_, Flinck, 153; _A Man Praying_, Fabritius, 158; _Raising of Jairus’s Daughter_, _Presentation of Christ in the Temple_, _Mercury and Argus_, Eeckhout, 159; _Old Lady and her Daughters_, _Old Man and his Sons_, De Keyser, 166; _Landscape and Cattle_, Koninck, 173; _Boar Hunt_, Potter, 180; _View of Arnheim_, _View of Nimwegen_, Van Goyen, 188; _View of Haarlem from the Dunes_, Jacob van Ruisdael, 197
Biblical pictures, 74, 103-105, 150; by Steen, 148; Flinck, 151; Fabritius, 156; Bol, 163; Eeckhout, 158; De Gelder, 160; Van de Velde, 183
_Big Wood, The_ [Jacob van Ruisdael], 199
_Blacksmith, The_ [Metsu], 117
_Boar Hunt, The_ [Potter], 180
Bode, W., quoted, 54, 114, 117, 134, 176-195
Bol, Ferdinand, 30; school, 43; appreciation, 153; _Jacob Presented to Pharaoh_, _Rest of the Holy Family_, _Abraham Receiving the Angels_, _Salome Dancing before Herod_, 154; _Portrait of a Girl_, _Portraits_ in the Pinakothek, 155
Boston Museum, pictures in: _An Interior_, De Hooch, 122
Both, Johannes, 30
Boucher, 5
Bray, Jan de, 19
Bray, Salomon de, 39, 167
Brederode, feast at, 21
Bredius, Dr., 136; estimate of Steen, 142
Brueghel, Pieter the Elder, 107
Brunswick Gallery, pictures in: _The Coquette_, Vermeer, 140; _Portrait_, Eeckhout, 160; _Oak Wood_, Jacob van Ruisdael, 199
Brussels, scene of abdication of Charles V, 7; ancient grandeur of, 7; treaty of 1577 signed at, 23
Budapest, Fine Arts Museum, pictures in: _Portrait of a Man_, Maes, 116; _Portrait of a Lady_, Vermeer, 141; _Esther and Mordecai_, De Gelder, 161; _Portrait of a Woman_, De Keyser, 166; _Portrait of a Young Lady_, Moreelse, 168; _Landscape_, Cuyp, 183
_Burial, The_ [Rembrandt], 103
C
Cassel Gallery, picture in: _Twelfth Night_, Steen, 146
_Castle Bentheim_ [Jacob van Ruisdael], 195
_Cattle and Bathers_ [Potter], 186
_Cavalier in a Shop_ [Van Mieris], 124
Charles V, abdication, 3-8; birth and education, 7; rule in the Netherlands, 7
Chiaroscuro, Rembrandt’s, 79
_Christ with the Doctors_ [Eeckhout], 159
_Christening Party, The_ [Steen], 146
Church, influence of, on art, 11; attempt to fasten Catholic on Holland, 20; schism in Protestant, 37
Codde, Pieter, 126
_Concert, The_ [Terborch], 136
_Cook, The_ [Vermeer], 137
_Coquette, The_ [Vermeer], 139
Count of Orange, William, 8
_Cradle, The_ [Maes], 115
Craftsmanship, Dutch love of, 32
Cuyp, Aelbert, 30, 178; appreciation, 182
Czernin Gallery, Vienna, pictures in: _The Artist in his Studio_, Vermeer, 140; _The Company of Captain Cloeck_, De Keyser, 166
D
_David Handing the Letter to Uriah_ [Flinck], 151
_Day of Judgment_ [Van Orley], 15
_Decapitation of St. John the Baptist_ [Fabritius], 157
Delft, School of, 38, 41; born in: Vermeer, 132; studied at: Vermeer, 132; residence in: Vermeer, 132; Steen, 144; Fabritius, 156
_Descent from the Cross_ [Rembrandt], 103
_Diana and her Nymphs_ [Vermeer], 135
_Diana at her Toilet_ [Vermeer], 134
_Disciples at Emmaus_ [Steen], 148
_Doctor Visiting a Young Woman_ [Steen], 147
_Doctor’s Visit, The_ [Steen], 147
Dordrecht, School of, 38, 43; De Gelder, 160; Cuyp, 182; residence of Cuyp, Hoogstraten, 43; of De Gelder, Potter, 179
Dort, assembly of Estates, 23
Dou, Gerard, 30; school, 40; life, 111; appreciation, 111; _The Young Mother_, 103; _Old Woman Saying Grace_, 103; _The Dropsical Woman_, 112; _Lady at her Toilet_, 112; _Old Woman who has Lost her Thread_, 112; _Young Man and Girl in a Cellar_, 113; _Night School_, 113
Dresden Gallery: _Old Woman who has Lost her Thread_, Dou, 112; _Young Man and Girl in a Cellar_, _Still-life_, _Portrait of Himself_, Dou, 113; _Man and Woman Selling Poultry_, _Lovers at Breakfast_, Metsu, 118; _A Lady at her Clavichord_, Netscher, 125; _Officer Writing a Letter_, _Lady Washing her Hands_, Terborch, 130; _The Proposal_, Vermeer, 134; _The Marriage at Cana_, _The Expulsion of Hagar_, Steen, 148; _David Handing the Letter to Uriah_, Flinck, 151; _Jacob Presented to Pharaoh_, Bol, 153; _Rest of the Holy Family_, Bol, 154; _Presentation of Christ in the Temple_, _An Important Document_, _Portrait of a Halberdier_, DeGelder, 160; _Dutch Landscape_, Koninck, 173; _Castle Bentheim_, Jacob van Ruisdael, 195; _Village in the Wood_, Jacob van Ruisdael, 196; _Jewish Cemetery_, Jacob van Ruisdael, 200
_Dropsical Woman, The_ [Dou], 112
_Dunes, Valley of the Rhine near Arnheim_ [Koninck], 173
Dürer, Albrecht, 15
Dusart, Cornelis, 110
Dutch, pioneers of modern era, 3; independence of, declared, 24; defeated Spain by sea, 26; love of genre, 30, 31; advance in commerce, science, agriculture, and the crafts, 36; political and religious dissensions, 37; art one of portraiture, 49; character of genre, 107-109; change of conditions of society, 124; society pictures, 126; landscape, 170; with cattle, 177; occasional tediousness of landscapes, 192
_Dutch Courtyard_ [De Hooch], 122
_Dutch Housewife_ [Maes], 115
Duyster, Willem Cornelisz, 121, 126
E
Eeckhout, Gerbrandt van den, 30; school, 43, 151; life, 174; appreciation, 175; _The Woman Taken in Adultery_, 158; _Christ with the Doctors_, _Raising of Jairus’s Daughter_, _Presentation of Christ in the Temple_, _Mercury and Argus_, 159; _The Wine Contract_, 160
_Egg Dance, The_ [Aertz], 107
Egmont, Count, 22, 46
Egmont, Maria van, 144
_Elevation of the Cross_ [Rembrandt], 103, 104
Elias, Nicolaes, 165
Elizabeth of England assists Dutch, 25
Elkins, Mrs. William L., owner of _Wooded Road_, Hobbema, 191
Elsheimer, German painter who influenced Rembrandt, 74
_Enraged Swan, The_ [Jan Asselyn], 44
_Esther and Mordecai_ [De Gelder], 161
Etchings of Rembrandt, 74: _Old Woman’s Head_; _Bust of Old Woman_; _Rembrandt, a Bust_; _Rembrandt with an Open Mouth_; _Rembrandt with an Air of Grimace_; _Rembrandt with Haggard Eyes_; _Rembrandt Laughing_
Everdingen, Allart van, 30; school, 39; paints in Sweden, 39; in Amsterdam, 43
Everdingen, Cæsar van, 175
_Expulsion of Hagar_ [Steen], 148
F
Fabritius, Carel, 30; school, 41; in Amsterdam, 43; teacher of Vermeer, 132; Biblical subjects, 150; appreciation, 156; tragic death, 157; _Portrait of Abraham de Notte_, 157; _The Decapitation of St. John the Baptist_, 157
_Family Geelvink_ [Metsu], 120
_Family Group_ [De Hooch], 122
_Feast of St. Nicholas_ [Steen], 145
_Fête of the Civic Guard, Münster, 1648_ [Flinck], 153
_Fiddler, The_ [Van Ostade], 110
_Fishers for Souls, The_ [Van de Venne], 44
Flanders, School of, 100, 107
Flemish nobles aid Holland, 21
Flinck, Govert, 30; school, 43; Biblical pictures, 150; appreciation, 151; _Isaac Blessing Jacob_, _David Handing the Letter to Uriah_, 151; _Angel and the Shepherds_, _Gray-Bearded Man_, 152; _Portrait of a Little Girl_, _of a Young Woman_, _of M. Johannes Wittenbogaert_, _Fête of the Civic Guard, Münster_, 153
Fragonard, 5
Frederick Henry, Stadtholder, 37, 45
Frick, Henry C., owner of _The Music Lesson_, Vermeer, 140
Fromentin, quoted, 6, 49; on Rembrandt, 78-85; Terborch, 129
G
_Gallant Soldier, The_ [Terborch], 129
Gelder, Aert de, 151; appreciation of, 160; _Presentation of Christ in the Temple_, _An Important Document_, _Portrait of a Halberdier_, 160; _Judah and Thamar_, _Esther and Mordecai_, _Three Portraits_, 161
Genre painting, 107; inspiration from Hals, 100; high-water mark of, 120; decline of, 124; society picture, 126; of Terborch, 129; not realistic, 130; Valckenborch, Aertz, 107; Van Ostade, 108; Dou, 111; Maes, 114; Metsu, 117; De Hooch, 120; Willem and Frans (Elder and Younger) van Mieris, 122; Lairesse, Netscher, Schalcken, 125; Dirck Hals, Duyster, Palamedesz, Codde, Slingeland, 126; Terborch, 127; Vermeer, 132; Steen, 141
Gerard, Balthasar, assassin of William of Orange, 25
Ghent, birthplace of Charles V, 7
_Girl before her Mirror_ [Van Mieris], 124
_Girl with Water-Jug_ [Vermeer], 134
Gorkum, 176
Goyen, Jan Joseph van, 19, 39, 40, 42, 173, 174, 183; life, 187; appreciation, 188; compared to Ruisdael, 189; _View of Dordrecht_, _of Arnheim_, _of Nimwegen_, _Landscape_, 188; _The River_, _Banks of a Canal_, 189
Grand Pensionary, 47
Grange, Justus de la, employer of Pieter de Hooch, 121
_Gray-Bearded Man_ [Flinck], 152
Greek art compared to Rembrandt’s, 72
Guild of St. Luke, the Painters’ Guild, at Delft, 121, 132; Haarlem, 51, 174, 194; Leyden, 111, 117, 144
H
Haarlem, school, 39, 50; Scovel, 16; Hals, 50; Terborch, 127; De Bray, 167; Ruisdael, Salomon and Jacob, 174; Molyn, 174; Wynants, 174; Everdingen, 174; Van de Velde, 174; Berchem, 174; birthplace of Seghers, 170; Wouwerman, 180; Ruisdael, 194; residence of Hals, 51; Van Ostade, 110; De Hooch, 121; De Bray, 157; Seghers, 170; Van de Velde, 174; Wouwerman, 180
Haarlem Municipal Museum, 32, 39, 52; corporation pictures, Hals, 64: _Banquet of the Officers of the Archers of St. George_, 64; _Banquet of the Officers of the Archers of St. George_, 65; _Banquet of the Officers of the Archers of St. Andrew_, 66; _Reunion of the Officers of the Archers of St. Andrew_, 67; _Officers of the Archers of St. George_, 68; _Regents of the Hospital for the Poor_, 52; _Regents of the Hospital of St. Elizabeth_, 69
Hague: Dutch independence declared, 24; school, 38, 42; Ravesteyn, 167; Mierevelt, 167; residence of De Hooch, 121; Steen, 144; Seghers, 170; Potter, 179; Van Goyen, 187
Hague Royal Museum, 37; _Portrait of a Young Man_, _St. Simeon in the Temple_, _The Lesson in Anatomy_, _Rembrandt_, 76; _The Young Mother_, Dou, 103; _Peasants’ Holiday_, _Peasants at an Inn_, _Marriage Proposal_, _The Fiddler_, _Van Ostade_, 110; _Diana at her Toilet_, _New Testament_, _Head of a Girl_, Vermeer, 135; _View of Delft_, Vermeer, 136; _While the Old Ones Sing_, etc., Steen, 146; _Doctor Visiting a Sick Woman_, Steen, 147; _Judah and Thamar_, De Gelder, 161; _The Young Bull_, Potter, 179; _Cattle and Bathers_, Potter, 180; _View of Dordrecht_, Van Goyen, 188; _View of Haarlem from the Dunes_, Jacob van Ruisdael, 197; _The Beach_, Jacob van Ruisdael, 198
Hals, Dirck, 5; place in art, 126
Hals, Frans, 19; birth, 29; life, 50; Guild of St. Luke, 51; death and burial, 51; personal character, 52; technique, 52; humor, 53; point of view, 54; still-life, 57; compared with Van der Helst, 57; an Impressionist, 59; use of values, 63; light, 63; brushwork, 64; color, 64; simplicity of gesture, 67; decline of power, 69; Hals and Rembrandt, 96; modern influence, 97; overestimated, 97; pupils, 99; _Banquet of the Officers of the Archers of St. George_, 64; _Banquet of the Officers of the Archers of St. George_, 65; _Banquet of the Officers of the Archers of St. Andrew_, 66; _Reunion of the Officers of the Archers of St. Andrew_, 67; _Officers of the Archers of St. George_, 68; _Regents of the Hospital for the Poor_, 52; _Regents of the Hospital of St. Elizabeth_, 69
Hals, Harmen, 58
_Happy Family, A_ [Steen], 145
Harmen van Rijn, father of Rembrandt, 73
_Head and Bust of Oriental_ [Rembrandt], 104
_Head of a Girl_ [Vermeer], 135
Helst, Bartholomeus van der, 43; compared with Hals, 57; appreciation, 164; _Banquet of the Civic Guard_, 57, 164; _Portrait of Paul Potter_, 163, 178
Hendrickje, 78; _Portrait of_, 89
Hermanszoon, Anneke, 50
Heyden, Jan van der, 31
Hobbema, Meindert, 31, 39, 43; life, 190; appreciation, 192; _The Water Mill_, 191, 192; _Avenue of Middelharnis_, _Wooded Landscape_, _Water-Mill_ (Louvre), _Wooded Road_, 191
Holland, growth of, 3; pioneer of modern era, 3; misrule of Philip, 19; independence of, 24; birthplace of new art, 26; Duchess Isabella, 45; consolidated, 45; Stadtholdership hereditary, 46; family of Orange entangled with Stuarts, 47
_Holy Family_ [Rembrandt], 102
_Homely Scene, A_ [Steen], 145
Hondecoeter, Melchior d’, 31; school, 38; in Amsterdam, 43
Hooch, Pieter de, 31; school, 41; in Amsterdam, 43; life, 120; influence of other painters, 138; _The Mother_, _Interior_, _The Pantry_, _A Dutch Courtyard_, _Family Group_, 122; _The Visit_, 138
Hoogstraten, Samuel van, 43
Horn, Count van, 22, 46
_Horses at the Door of a Cottage_ [Potter], 180
Houbraken, historian-painter, 52, 120, 144
Huntington, Mrs. Collis P., owner of _Lady with a Lute_, Vermeer, 139
I
_Important Document, An_ [De Gelder], 160
Impressionism, 59, 60; of Rembrandt, 86, 92, 93
_Interior_ [De Hooch], 122
_Isaac Blessing Jacob_ [Flinck], 151
Isabella, Duchess, 45
Israels, Josef, 106
J
_Jacob Presented to Pharaoh by Joseph_ [Bol], 154
_Jerome in a Cave, St._ [Rembrandt], 76
_Jesus Disputing with the Doctors_ [Rembrandt], 75
_Jewish Cemetery_ [Jacob van Ruisdael], 200
Johnson, Mr. John G., collector of Philadelphia, 114
_Judah and Thamar_ [De Gelder], 160
_Judith with the Head of Holofernes_ [Mantegna], 157
K
Kalf, Willem, 31
Keyser, Thomas de, 43; appreciation, 165; _Company of Captain Cloeck_, _Family Meebeeck Cruywaghen_, _Portrait of Pieter Schout_, _Old Lady and her Three Daughters_, _Old Man and his Two Sons_, _Portrait of a Woman_, 166
Koninck, Philips, 30; in Amsterdam, 43, 174; appreciation, 172; _The Dunes_, _Valley of the Rhine near Arnheim_, _Dutch Landscape_, _Landscape with Cattle_ (Berlin), _Landscape with Cattle_ (Rijks), _Four Portraits of Joost van den Vondel_, 173
L
_Lace-Maker, The_ [Vermeer], 139
_Lady and her Doctor_ [Van Mieris], 124
_Lady at a Spinet_ [Vermeer], 140
_Lady at her Toilet_ [Dou], 112
_Lady at the Clavichord_ [Netscher], 125
_Lady Washing her Hands_ [Terborch], 136
_Lady with a Lute_ [Vermeer], 139
_Lady with the Pearl Necklace_ [Vermeer], 138
_Lady Writing_ [Vermeer], 139
Lairesse, Gerard de, 125
Landscape, 169; painters of: Seghers, 169; Rembrandt, 173; Jacob van Ruisdael, 173, 193; Salomon van Ruisdael, 174; Molyn, 173; Berchem, 174; Wouwerman, 174, 180; Wynants, 175; Van der Neer, 176; Van de Velde, 183; with cattle, Potter, 179
_Landscape with Cattle_ [Koninck], 173
_Landscape with Cattle_ [Potter], 180
_Landscape with Fence_ [Jacob van Ruisdael], 199
_Landscape with Waterfall_ [Jacob van Ruisdael], 194
_Last Judgment_ [Van Leyden], 74
Lastman, Pieter, 73
League of Nobles, 21
_Lesson in Anatomy_ [Rembrandt], 76
_Letter, The_ [Vermeer], 138
Leyden, founding of university, 35; School of, 38, 40; Dou, 111; Steen, 144; birthplace of Rembrandt, 73; Dou, 111; Metsu, 117; Mieris, 122; Steen, 144; Willem van de Velde, Elder and Younger, 186; Van Goyen, 187; residence of Rembrandt, 74; Dou, 111; Steen, 144
Liberty, Statue of, 87
Liechtenstein Gallery, Vienna: _Portrait of a Girl_, Bol, 155
Louvre: _The Supper at Emmaus_, _The Good Samaritan_, Rembrandt, 82; _The Dropsical Woman_, Dou, 112; _Vegetable Market_, Metsu, 118; _The Gallant Soldier_, Terborch, 129; _Angel and the Shepherds_, Flinck, 152; _Portrait of a Little Girl_, Flinck, 153; _Portrait of a Mathematician_, Bol, 154; _Horses at the Door of a Cottage_, Potter, 180; _The River_, _Banks of a Canal_, Van Goyen, 189; _Water Mill_, Hobbema, 191
_Lovers at Breakfast_ [Metsu], 118
Lucas van Leyden, 15, 74; _The Last Judgment_, 74
Luminarist, 80
M
Maas, River, 182
Maes, Nicolaes, 31, 144; school, 43; influenced by Rembrandt, 105; life, 114; appreciation, 115; _A Reverie_, _Asking a Blessing_, _Nurse and Children_, 114; _The Young Card-Players_, 114, 116; _Old Woman Peeling Apples_, _The Cradle_, _Dutch Housewife_, 115; _Old Woman Spinning_, 115, 116; _Portrait of a Man_, 116
_Man and Woman Selling Poultry_ [Metsu], 118
Manet, Edouard, 60
Mantegna, _Judith with the Head of Holofernes_, 157
Marine-painters, 44; Vlieger, 44, 185; Bakhuysen, 44; Verschuier, 185; Willem van de Velde, Elder and Younger, 44, Vroom, 185
_Marriage at Cana_ [Steen], 148
_Marriage Proposal, The_ [Van Ostade], 110
Matisse, French artist, 93
Maurice, Stadtholder, 37, 45
_Mercury and Argus_ [Eeckhout], 159
Metropolitan Museum, New York, 88, 90; _A Music Party_, Metsu, 119; _Girl with Water-Jug_, Vermeer, 135
Metsu, Gabriel, 31; school, 40; in Amsterdam, 43; pupil of Hals, 99; influenced by Dou, 111; life, 117; appreciation, 117-119; _The Blacksmith_, 117; _Old Woman in Meditation_, _Man and Woman Selling Poultry_, _Lovers at Breakfast_, 118; _A Music Party_, _Visit to the Nursery_, 119; _Family Geelvink_, 120
Meyer, Baron A., photographs of, 58
Mierevelt, Michiel Jansz van, 19, 41, 167
Mieris, Frans van, the Elder, 40; influenced by Dou, 111; life, 122; appreciation, 123; _The Sick Woman_, _The Oyster Breakfast_, 123; _The Girl before a Mirror_, _A Lady and her Doctor_, _Cavalier in a Shop_, 124
_Mill near Wyk-by-Duurstede_ [Jacob van Ruisdael], 199
Models, Rembrandt’s use of, 104, 150
Monet, Claude, 60
Moral character of Dutch painting, 27
Moreelse, Paulus, 167
Morgan, Mr. J. Pierpont, owner of _Visit to the Nursery_, Metsu, 119; _Lady Writing_, _The Lace-Maker_, Vermeer, 139; _The Water Mill_, Hobbema, 184, 191; _Wooded Landscape_, Hobbema, 191
Moro, Antonio, 16
_Mother, The_ [De Hooch], 122
Munich Pinakothek. See _Pinakothek_
_Music Lesson, The_ [Vermeer], 140
N
National Gallery, London: _Peace of Münster_, Terborch, 39, 127; _The Young Card-Players_, Maes, 114, 116; _The Cradle_, _Dutch Housewife_, Maes, 115; _An Interior_, De Hooch, 121; _A Dutch Courtyard_, _Family Group_, De Hooch, 122; _Lady at a Spinet_, Vermeer, 140; _The Doctor’s Visit_, Steen, 147; _The Wine Contract_, Eeckhout, 160; _Tobit and the Angel_, Rembrandt, 172; _Moonlight Landscape_, _Landscape with Trees_, _Landscape with Cattle_, Van der Neer, 177; _Landscape with Cattle_, Potter, 180; _Landscape with Cattle_, Cuyp, 182; _Avenue of Middelharnis_, Hobbema, 191; _Landscape with Waterfall_, Jacob van Ruisdael, 194; _Shore at Scheveningen_, Ruisdael, 198
Neer, Aert van der, 30; school, 43; appreciation, 176; _Moonlight Scenes_, in National Gallery and Imperial Art Museum, Vienna, 177; _Winter Scene_, _Scene with Cattle_, 177
Netscher, Caspar, school, 42; appreciation, 125; _A Lady at the Clavichord_, 125
_New Testament, The_ [Vermeer], 136
_Night School, The_ [Dou], 113
_Night Watch, The_ [Rembrandt], 77, 79, 81, 84
_Nurse and Children_ [Maes], 114
O
_Officer Writing a Letter_ [Terborch], 136
_Old Lady and her Three Daughters_ [De Keyser], 166
_Old Man and his Two Sons_ [De Keyser], 166
_Old Woman in Meditation_ [Metsu], 118
_Old Woman Peeling Apples_ [Maes], 116
_Old Woman Peeling Apples_ [Terborch], 136
_Old Woman Saying Grace_ [Dou], 103
_Old Woman Spinning_ [Maes], 114
_Old Woman who has Lost her Thread_ [Dou], 112
Orange, Prince William of, 23, 29, 46
Oriental art, 94
_Oriental Figure_ [Rembrandt], 104
Orley, Barend van, 15; _The Day of Judgment_, 15
Ostade, Adriaen van, 30; school, 39; pupil of Hals, 99; life, 108; appreciation, 109; pupils, 110; _The Peasants’ Holiday_, _Peasants at an Inn_, _Marriage Proposal_, _The Fiddler_, 110
Ostade, Isaac van, 110
_Oyster Breakfast, The_ [Mieris], 123
P
Palamedesz, Antonie, school, 41; appreciation, 126
_Pantry, The_ [De Hooch], 122
_Paul, St._ [Rembrandt], 76
Peace of Münster, 46
_Peace of Münster_ [Terborch], 39, 127
_Peasants at an Inn_ [Van Ostade], 110
_Peasants’ Holiday_ [Van Ostade], 110
Petersburg, St., _The Swamp in the Wood_, Jacob van Ruisdael, 199
Philip I, 3, 9, 10
Philip II: misrule of Netherlands, 19; nobles resist, 21; ambition, 25; close of reign, 26
_Pieter Schout, Portrait of_ [De Keyser], 166
Pinakothek, Munich: _Holy Family_, Rembrandt, 102; _The Descent from the Gross_, _The Elevation of the Cross_, Rembrandt, 103, 104; _The Burial_, _The Resurrection_, Rembrandt, 103; _The Adoration of the Shepherds_, Rembrandt, 104, 159; _Old Woman Saying Grace_, Dou, 103; _Lady at her Toilet_, Dou, 112; _The Sick Woman_, _The Oyster Breakfast_, Van Mieris, 123; _Girl before a Mirror_, Van Mieris, 124; _Portraits of Man and Wife_, three others, Bol, 155
Plein-air, 63, 131, 170, 171
_Portrait of a Girl_ [Bol], 155
_Portrait of a Little Girl_ [Flinck], 153
_Portrait of a Man_ [Maes], 116
_Portrait of a Woman_ [De Keyser], 160
_Portrait of a Young Man_ [Flinck], 152
_Portrait of A. de Notte_ [Fabritius], 157
_Portrait of Elizabeth Bas_ [Rembrandt], 89
_Portrait of Himself_ [Rembrandt], 78
_Portrait of M. Johannes Wittenbogaert_ [Flinck], 152
_Portrait of Old Woman_ [Metsu], 118
_Portrait of Paul Potter_ [Van der Helst], 178
Portraits, painters of, 33; school of Haarlem, 39; Delft, 41; The Hague, 42; Hals, 49; Rembrandt, 89; Maes, 116; Terborch, 128; Vermeer, 141; Santvoort, 151, 161; Flinck, 151; Bol, 155; Fabritius, 156; Eeckhout, 160; De Gelder, 160; Van der Helst, 162; De Keyser, 165; Mierevelt, 167; Ravesteyn, De Bray, Moreelse, 167
_Portraits of Man and Wife_, three other portraits [Bol], 155
Portraiture, 150
Potter, Paul, appreciation, 178; life, 179; _The Young Bull_, 179; _Bear Hunt_, _Boar Hunt_, _Cattle and Bathers_, _Horses at the Door of a Cottage_, _Landscape with Cattle_, 180
Pourbus, Pieter, 16
_Presentation of Christ in the Temple_ [De Gelder], 160
_Presentation of Christ in the Temple_ [Eeckhout], 159
_Presentation with the Angel_ [Rembrandt], 75
_Prince’s Birthday_ [Steen], 146
_Proposal, The_ [Vermeer], 134
R
_Raising of Jairus’s Daughter_ [Eeckhout], 159
Ravesteyn, Jan Anthonisz van, 19; school, 42, 167
_Regents of the Hospital for the Poor_ [Hals], 52
_Regents of the Hospital of St. Elizabeth_ [Hals], 69
Rembrandt, Harmensz van Rijn, 71; individuality, 4; birth, 30; School of Leyden, 40; Amsterdam, 43; Holland’s leading painter, 49; life, 72; etchings, 74: personality, 75; in Amsterdam, 76; beginning of fame, 77; marriage and death of Saskia, second marriage, 77; bankruptcy, 78; Fromentin’s criticism, 79, 85; chiaroscuro, 80; abstract idea, 88; color, 91; symbolism, 92; Impressionist, 93; compared with Hals, 96; influence on genre, 102; use of the arch, 104; _St. Paul_, _St. Jerome in a Cave_, _St. Simeon in the Temple_, 76; _The Lesson in Anatomy_, 76, 85; _Sortie of the Frans Banning Cock Company_ (_The Night Watch_), 77, 79, 81, 84; _The Syndics of the Cloth Guild_, 78; _Portrait of Himself_, 78; _Supper at Emmaus_, 82, 148; _Good Samaritan_, 82; _Portrait of Elizabeth Bas_, 89; _Holy Family_, 102; _Descent from the Cross_, 103; _Elevation of the Cross_, 103, 104; _Burial_, _Resurrection_, _Adoration of the Shepherds_, _Oriental Figure_, _Head and Bust of an Oriental_, 104; _Tobit and the Angel_, 172
Renaissance art, 72
_Rest of the Holy Family_ [Bol], 154
_Resurrection, The_ [Rembrandt], 104
_Reunion of the Officers of the Archers of St. Andrew_ [Hals], 66, 67
_Reverie_ [Maes], 114
Reyniers, Lysbeth, 51
Rijks Museum, Amsterdam, 44, 59; _The Enraged Swan_, Asselyn, 44; _Fishers for Souls_, Van de Venne, 44; _Syndics of the Cloth Guild_, Rembrandt, 78; _Sortie of the Frans Banning Cock Company_, Rembrandt, 78, 79, 81, 84; _Portrait of Elizabeth Bas_, Rembrandt, 89; _The Egg Dance_, Aertz, 107; _The Night School_, Dou, 113; _A Reverie_, Metsu, 114; _Asking a Blessing_, _Old Woman Spinning_, Metsu, 115, 116; _The Blacksmith_, Metsu, 117; _Old Woman in Meditation_, Metsu, 118; _The Interior_, _The Pantry_, De Hooch, 122; _The Cook_, Vermeer, 137; _Young Woman Reading a Letter_, Vermeer, 138; _A Homely Scene_, _The Happy Family_, _The Feast of St. Nicholas_, Steen, 145; _The Prince’s Birthday_, _The Sick Lady_, Steen, 146; _The Disciples at Emmaus_, Steen, 148; _Isaac Blessing Jacob_, Flinck, 151; _Portrait of M. Johannes Wittenbogaert_, _Fête of the Civic Guard, Münster, 1648_, Flinck, 153; _Abraham Receiving the Angels_, _Salome Dancing before Herod_, Bol, 154; _Six Governors of the Huiszittenhuis_, _Four Governors of the Leper House_, _Roelof Meulenaar_, _Maria Rey_, _Artus Quellinus_, Bol, 156; _Portrait of Abraham de Notte_, _Decapitation of St. John the Baptist_, Fabritius, 157; _Woman Taken in Adultery_, Eeckhout, 158; _Three Portraits_, De Gelder, 161; _Portrait of Dirck Bas Jacobsz Family_, _Four Ladies of the Spinhuis_, Santvoort, 161; _Banquet of the Civic Guard_, Van der Helst, 57, 164; _Portrait of Paul Potter_, Van der Helst, 163; _Company of Captain Cloeck_, _Family Meebeeck Cruywaghen_, _Portrait of Pieter Schout_, De Keyser, 166; _Maria van Utrecht_, _The Little Princess_, Moreelse, 167; _Four Portraits of Joost van den Vondel_, _Two Landscapes with Cattle_, Koninck, 173; _Landscape_, Everdingen, 175; _The Bear Hunt_, Potter, 180; _Portrait of the Van de Velde Family_, Van de Velde, 183; _Charles II Entering Rotterdam, 24 May, 1660_, Verschuier, 186; _Landscape_, Van Goyen, 188; _View of Haarlem from the Dunes_, Jacob van Ruisdael, 197; _Mill near Wyk-by-Duurstede_, Jacob van Ruisdael, 199
_River_ [Van Goyen], 188
Rotterdam, birthplace of De Hooch, 120; Vlieger, 185; Verschuier, 185
Rubens, Peter Paul, 18
Ruisdael, Jacob van, compared to Goyen, 189; appreciation, 193; life, 194; increase of power, 196; compared to Rembrandt, 200; _Landscape with Waterfall_, 194; _Castle Bentheim_, 195; _Village in the Wood_, 196; _View of Haarlem from the Hill of Overveen_, 197; _The Beach_, _Shore at Scheveningen_, 198; _The Mill near Wyk-by-Duurstede_, _The Swamp in the Wood_, _The Oak Wood_, _The Big Wood_, _Landscape with Fence_, 199; _Jewish Cemetery_, 200
Ruisdael, Salomon van, 174
S
_St. Simeon in the Temple_ [Rembrandt], 76
_Salome Dancing before Herod_ [Bol], 151
Santvoort, Dirck Dircksz, 151; appreciation, 161; _Portrait of Dirck Bas Jacobsz Family_, _Four Ladies of the Spinhuis_, 161; _Four Governors of the Serge Hall_, _Frederick Dircksz Alewyn_, _Agatha Geelvinck_, _Martinus Alewyn_, _Clara Alewyn_, 162
Saskia van Uylenborch, 77
Schalcken, Godfried, 42; influenced by Dou, 111; appreciation, 125
Schatter, Captain Johan, 66
Scovel, Jan van, life, 16; appreciation, 17; portrait group of twelve Knights Templars, 17
Seghers, Hercules, 19; born at Amsterdam, 43; appreciation, 169; influenced Koninck, 173, 174; _Holland Landscape with the Hamlet of Rhenen_, _Landscape_, 169
_Shore at Scheveningen_ [Jacob van Ruisdael], 198
_Sick Woman, The_ [Van Mieris], 123
Sidney, Sir Philip, 25
_Sleeping Girl_ [Vermeer], 136
Slingeland, Pieter Cornelisz van, influenced by Dou, 111, 126
_Sortie of the Frans Banning Cock Company_ [Rembrandt], 77, 79
Spain, downfall of, 26
Spanish Fury, 22
Steen, Jan, 31; school, 39, 40; appreciation, 141; humor, 143; life, 144; stories of reckless life, 145; _A Homely Scene_, _Feast of St. Nicholas_, _Happy Family_, 145; _The Christening Party_, _While the Old Ones Sing the Young Ones Pipe_, _Twelfth Night_, _The Prince’s Birthday_, _The Sick Lady_, 146; _Doctor Visiting a Sick Young Woman_, _A Doctor’s Visit_, 147; _The Marriage at Cana_, _Expulsion of Hagar_, _Disciples at Emmaus_, 148
Still-life, Dutch interest in, 31; Van Heem, Weenix, Kalf, Hondecoeter, 31, 38
Stoffels, Hendrickje, 78
_Supper at Emmaus_ [Rembrandt], 82, 148
_Swamp in the Wood_ [Jacob van Ruisdael], 199
Swanenburch, Jacob van, 41; teacher of Rembrandt, 73
Symbolism, 95, 197, 200
_Syndics of the Cloth Guild_ [Rembrandt], 56
T
Technique, as a motive, 28
Terborch, Gerard, 30; school, 39; pupil of Hals, 99; appreciation, 127; life, 128; influence of Hals, Rembrandt, and Velasquez, 128; portraits, 128; color, 131; _The Peace of Münster_, 127; _The Gallant Soldier_, 129; _The Concert_, _Officer Writing a Letter_, _Lady Washing her Hands_, _Old Woman Peeling Apples_, 130
Tintoretto, 14
Titian, 14
_Tobit and the Angel_ [Rembrandt], 172
Tulp, Dr., 76
_Twelfth Night_ [Steen], 146
U
Uffizi Gallery, Florence, _Landscape_, Seghers, 169
Union of Utrecht, 23
Utrecht, school of painting: Scovel, 16; birthplace of Moreelse, 167; residence of Scovel, 16; Moreelse, 167; Seghers, 170
Uylenborch, Saskia van, 77
V
Valckenborch, Lucas van, 107; appreciation, 126
Values, 134
Vanderbilt, W. K., collector, 104
_Vegetable Market, The_ [Metsu], 118
Velasquez, 60; influenced Rembrandt, 93; Hals, 97
Velde, Adriaen van de, 31, 43, 178; appreciation, 183, 196; _Family of Van de Velde_, 183
Velde, Esaias van de, 39, 187
Velde, Willem van de, the Elder, 30, 184; appreciation, 186
Velde, Willem van de, the Younger, 44; appreciation, 186
Venne, Adriaen van de, 44
Vermeer, Johannes, 31; school, 41; life, 132; appreciation, 132; comparison with Rembrandt, 133; _plein-air_, 170; _The Proposal_, 134; _Girl with Water-Jug_, 135, 139; _Diana at her Toilet_, _New Testament_, _Head of a Girl_, _Diana and her Nymphs_, 135; _Sleeping Girl_, _View of Delft_, 136; _The Cook_, 137; _The Letter_, _Young Woman Reading a Letter_, _Lady with Pearl Necklace_, 138; _Lady with a Lute_, _Lady Writing_, _The Lace-Maker_, 139; _The Coquette_, _Lady at a Spinet_, _The Music Lesson_, _The Artist in his Studio_, 140; _Portrait of a Lady_, 141
Veronese, Paolo, 14
Verschuier, Lieve, 185; _Charles II Entering Rotterdam_, 186
Veth, Jan, 182
Vienna Art-History Museum, 107; _A Lady and her Doctor_, _Cavalier in a Shop_, Mieris, 124; _Old Woman Peeling Apples_, Terborch, 130; _Gray-Bearded Man_, Flinck, 152; _The Big Wood_, Ruisdael, 199
Vienna Imperial Art Museum: _Moonlight_ and _Winter Landscapes_, Van der Neer, 177; _Landscape with Fence_, Jacob van Ruisdael, 199
_View of Arnheim_ [Van Goyen], 188
_View of Delft_ [Vermeer], 137
_View of Dordrecht_ [Van Goyen], 188
_View of Nimwegen_ [Van Goyen], 188
_Visit, The_ [De Hooch], 138
_Visit to the Nursery_ [Metsu], 119
Vlieger, Simon de, 34, 44; appreciation, 185
_Vondel, Joost van den, Portrait of_ [Koninck], 173
Vroom, Hendrick Cornelisz, 185
W
Wagner, quotation on art, 4
Wallace Collection: _Winter Scene_, Van der Neer, 177; _Landscape with Cattle_, Cuyp, 182
_Water Mill_ [Hobbema], 191
_Water Mill_ (Louvre) [Hobbema], 191
Watteau, 5
Weenix, Jan, 31; school, 38, 43
Westphalia, Treaty of, 46
_When the Old Ones Sing the Young Ones Pipe_ [Steen], 146
Whistler, 95
William, Prince of Orange, 8; resists Spain, 21; price put on his head, 23; offered the crown, 24; death, 25
William III of England, 47
_Wine Contract, The_ [Eeckhout], 160
Witt, Johan de, 46
_Woman Taken in Adultery_ [Eeckhout], 158
_Wooded Landscape_ [Hobbema], 191
_Wooded Road_ [Hobbema], 191
Wouwerman, Philips, 30, 174; school, 39; pupil of Hals, 99, 178; appreciation, 180, 184, 195
Wynants, Jan, 30, 174, 175; school, 39, 43, 84
Y
_Young Bull, The_ [Potter], 179
_Young Card-Players, The_ [Maes], 114, 116
_Young Man and Girl in a Cellar_ [Dou], 113
_Young Mother, The_ [Dou], 103
_Young Woman Reading a Letter_ [Vermeer], 138
FOOTNOTES:
[A] The author’s indebtedness to Motley in this chapter, as in subsequent ones, should not escape the reader’s notice.
[B] The topic of this book being painting, Rembrandt’s fecundity and genius as an etcher have not been considered.
[C] Compare the reference on page 103 to the series of Biblical subjects, executed in 1633, which are now in the Munich Gallery.
[D] In the Adolf v. Carstanjen Collection, Berlin Gallery.
[E] I allude to the men who are working more or less in sympathy with and along the lines of the French artist, Matisse.
[F] See page 175.
End of Project Gutenberg's The Story of Dutch Painting, by Charles H. Caffin