by him. In the Pinakothek, Munich, there are nine Landscapes, all as beautiful as can be desired. In the largest there is a Cascade foaming down over masses of rocks. This picture is valuable as well for its great perfection as from its unusual size. At Dresden there are thirteen of his paintings. Among these, several are justly celebrated. One of them is known by the name of Ruysdael's Chase. It is a forest of beech-trees, broken only by some sheets of water reflecting the clouds in the sky. Under these great trees, Adriaan van de Velde has painted a stag hunt, from which the name of the picture has been taken. This is one of the largest as well as most magnificent to be found among all his works, and, perhaps, only to be equaled by the Forest in the Belvedere, Vi enna. Marquis of Bute, is said by more than one writer to show a superiority in architecture as decided as that evinced by him in marine subjects and in land scape. Frédéric de Moucheron (1633-ab. 1713 ?) painted for several years in Paris, but eventually settled at Amsterdam, where most of his best landscapes were produced. The figures in them are usually by Adriaan van de Velde or Lingelbach. A Garden Scene by him, with figures by Adriaan van de Velde, is in the National Gallery. Jan van der Hagen (1635-ab. 1662) was a successful imitator of the style of Ruysdael and Hobbema. LANDSCAPE. BY HOBBEMA. IN BUCKINGHAM PALACE. His scenes are generally flat and lonely, like those of his native land, with tre e-shadowed pools and pregnant clouds. His skies over his wild sea-pieces, which often show, like his country views, the spires of Haarlem in the distance, are also ominous of storms, and have a melancholy effect on the observer; not but what he could be light, and fresh, and sunny when he chose. At other times he gives us wooded hills and rocky waterfalls full of picturesque effect, and like all the rest of his best work, showing the most tenderly graduated aërial perspective. Animals and figures, in which, like many other landscape painters, he was weak, were often introduced by Adriaan van de Velde, Berchem, Wouwerman, and others. The view of the interior of the new church at Amsterdam, with figures by Wouwerman, now in the collection of the Meindert Hobbema (1638 -1709) is supposed to have studied under Ruysdael, but, unlike his master, he only painted smiling and serene nature. His name was long forgotten; and his signature was effaced from his works, in order to substitute the name or mono gram of Ruysdael; his works are, however, now estimated at their just value. Two Landscapes in the possession of the Duke of Westminster, in Grosvenor House, the Dutch Cabin in the Pinakothek at Munich, and the Oak Forest in the Berlin Museum, are among his best works. Adriaan van de Velde (1629-1672), the illustrious disciple of Winants, may claim one important title to superiority. In his calm, smiling, peaceful views of nature, he was able himself to paint the human figures and the animals, almost as well as painters of those branches of art could have done for him; and, in fact, he often painted figures in the landscapes of other artists. He was born at Amsterdam, first studied under his father Willem van de Velde, the elder, and was then apprenticed to Wynants at Haarlem. He died in his native city in 1672. Peaceful pastoral scenes were his favorite subjects. The rustic Phyllis and some Dutch Corydon resting in the shade are the usual figures in his pictures. In the Louvre we find The Coast of Scheveningen, where the Prince of Orange appears in a carriage and six horses; the Frozen Canal, the Herdsman's Family, and three landscapes with animals. The galleries of Dresden, Munich, Berlin, Rotterdam, the Hague, Amsterdam, and Antwerp, all contain good specimens of this master. The Van der Hoop Collection at Amsterdam con tains one very notable workPortraits of Himself, his Wife, and his Two Children. In the Dresden Gallery is a Winter Landscape. There are six pictures by him in the National Gallery. Jan van Hutchenberg (1646? -1733) painted some famous marine painters. As Holland possessed her De Ruyters and Van Tromps to manœeuvre her ships and fight her battles, so she had also her Van de Veldes and Bakhuisens to paint them. One of the earliest of these painters is Simon de Vlieger, who was born at Rotterdam about 1600, and was still living in 1656. His master is not known with certainty, but he doubtless studied under Jan van Goyen. He entered the Guild of Delft in 1634, and became a citizen of Amsterdam in 1643. De Vlieger combined the manner of Cuyp with the subjects of Van de Velde. He was the first painter who set himself to represent the sea in its various phases, now sleeping in calm, now lashed into fury by the tempest. His coloring is often unpleasing. In one of his earlier pictures, a Sea Piece (Hermitage, St. Petersburg), the effect is cold. In the Amsterdam Gallery is a River Scene, with the Admiral's yacht firing a WINTER LANDSCAPE. BY ADRIAAN VAN DE VELDE. IN THE DRESDEN GALLERY. salute, which is battle-scenes, much in the same style as Wouverman. | far more striking. A Storm at Sea (Munich Gallery), Works by him are in many of the Continental collections. The National Gallery has one, a Battlescene. He was also an engraver. Jan van der Meer (1658-1705), of Haarlem, called "de Jonge" (the younger), to distinguish him from an old painter of the same name, studied under Berchem, in whose style he painted pastoral pictures with much success. DUTCH MARINE PAINTERS. It is natural that Holland, a country stolen from the sea, and at one time the rival of Britain in the sovereignty of the waves, should have produced and a view of the Coast of Scheveningen (Bridgewater Gallery), are excellent specimens of De Vlieger's art. The etchings of this artist are varied and powerful. Jan Parcellis, a native of Ghent, who was living in Haarlem in 1628, had the reputation there, perhaps a purely local one, of being "the best painter of ships in existence." His masterpiece seems to be a sea-piece in the Schleissheim Gallery, dated 1629. Remigius Nooms, called from his love of marine pictures Zeeman, was born at Amsterdam about 1616. Nothing is known of the life of this painter except what can be gathered from his etchings. These show that he was contemporary with De Vlieger, and that he visited France and England. In his marine pictures he does not equal other painters of this school; but his ships are carefully and accurately drawn. His pictures are rare in public galleries. At Amsterdam there is a picture of a sea-fight between the English and Dutch fleets, near Leghorn; the galleries of Vienna and Cassel contain each a specimen of this artist, whose etchings, however, are better than his oil paintings. Jan Beerestraaten is essentially a painter of Am the old Town-hall, Amsterdam; and a Sea-fight between the English and Dutch; and he is also well represented in the Town-hall, and in the Six and Van der Hoop collections. He was a good colorist, but was wanting in firmness of execution. Ludolf Backhuisen (1631-1708) who studied under Van Everdingen, is said to have given lessons in marine drawing to Peter the Great, when he was studying naval art at Saardam. He was patronized by monarchs and nobles. So earnest was this painter in his study of the sea that he used to pre sterdam. He was born there in 1622, painted there, and died there, it is supposed, in 1687; and it is in Amsterdam that his best works must be sought. From his works, however, we know that he visited Bois-le-Duc, Minden, Rotterdam, Haarlem, and Leyden; but it is not likely that he ever went to Italy, although he painted views of that country. His pictures are principally coast scenes and views in towns, with figures which were occasionally painted by Lingelbach. In the Amsterdam Gallery there is the Boatman's House, Amsterdam; the Ruins of vail on boatmen to put out in the roughest weather, when scarcely any one else would venture, in order that he might study the foam and the billows. The following are his principal productions: The Return of William of Orange, in the Hague Gallery; the Embarkation of Jan de Witt, in the Amsterdam Gallery; a View of the Port of Amsterdam, in the Belvedere, Vienna; and a Dutch Squadron, in the Louvre. The National Gallery has five works by Bakhuisen, who is also well represented in private collections in England. Willem van de Velde, the younger (1633-1707), received instruction from his father, a marine painter, Willem Van de Velde, the elder (1610-1693), and also from De Vlieger. On the completion of his studies, young Willem came to England, where his father was already engaged in the service of Charles II. In 1676 they each received a salary of £100 per annum from the king-the elder "for taking and making draughts of sea-fights," and the younger "for putting the said draughts into colors." After the death of Charles II. in 1685, the pension was continued by James II. The Van de Veldes, while in England, lived at Greenwich. Willem the younger, the worthy brother of Adriaan, is, indeed, the uncontested master in this genre. His finest works are in England (the country of his adoption), and especially in his own country, where, among others, may be found the great View of Amsterdam, taken at the Y, and the two celebrated pendents in commemoration of the naval Battle of Five Days, the success of which was at first doubtful, but in which the English finally gained an advantage over De Ruyter in 1666. To enable him to render his picture of the combat with greater fidelity the painter was present on one of the vessels of the Dutch squadron, making his plans and sketches in the midst of the firing. The National Gallery contains no less than fourteen pictures by this artistall good examples of his style. Of the private collections in England, which are rich in Van de Velde's works, Bridgwater House contains the best. -two Naval Battles; a View on the Texel; a Calm; the Entrance to the Bril; and, lastly, the well-known Rising of the Gale. Jan van de Capelle (flourished about 1675) in style much resembles De Vlieger. He is well represented in England, both in private galleries and in the National Gallery, which contains five works by him. Dirk Van Delen (1607 ?-1673), seized with the desire for painting architecture, then so prevalent in Holland, turned his attention to that branch of art, in which he afterward became very successful. He frequently painted in conjunction with other artists, as in the Meeting of the United Provinces at the Haguein the gallery of that city-in which the figures are by Palamedes. In the National Gallery is a Renaissance Palace, noteworthy for correct perspective and clearness of color. The Entrance of a Palace of the year 1654, is in the Dulwich College Gallery. Emanuel de Witte (1607-1692), one of the best Dutch painters of architecture, at first attempted portraiture, but did not succeed in that branch of art. His favorite subjects are the interiors of churches, the windows of which admit floods of sunlight, which he finely contrasts with the dark shadows. An Interior of a Church, by him, is in the National Gallery. Johann Lingelbach (1622-1687), though a German by birth, must be considered a Dutch painter, for after a visit to Paris and a lengthened stay in Italy, he settled at Amsterdam, and there executed most of his important works. His subjects are usually views of Sea Ports; the Hay Harvest by him is in the National Gallery. He so excelled as a figure painter, that he was sought by other artists, especially Wynants and Wouvermans, to add the figures to their landscapes. Jan van der Heyden (1637-1712), called the "Gerard Dou of architectural painters," is supposed to have come to England at some period of his life. His works are to be noticed for a most minute finish combined with great breadth of treatment. The View of a Public Square, surrounded with trees, in the Pinakothek, Munich; the Convent Garden, at Grosvenor House, London; the View of a Dutch Town, in the Amsterdam Museum; and the View of the Town Hall of Amsterdam, in the Louvre, in which the figures are painted by Adriaan van de Velde (who also painted the figures in van der Heyden's picture in the Dulwich College Gallery), are some of the highest works of his special genre, in which Van der Heyden, who had scarcely a predecessor, has remained without a rival and without an imitator. A Street in Cologne, is in the National Gallery. Job Berck-Heyde (1630-1693) was a painter of architectural subjects, in which he executed the figures, of landscapes, and even of portraits. Works by him are in most continental galleries. His younger brother, Gerrit Berck-Heyde (16381698), was, after Emanuel de Witte and Van der Heyden, one of the best architectural painters of Holland. He sometimes painted the figures in his own pictures, but he was frequently indebted for them to his brother Job, who excelled him in figure painting. |