File:Matthijs Maris - The Christening.jpg

Identifier: landscapefigurepai00sher (find matches)
Title: Landscape and figure painters of America
Year: 1917 (1910s)
Authors: Sherman, Frederic Fairchild, 1874-1940
Subjects: Landscape painting Figure painting
Publisher: New York : Privately printed
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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olland. Matthew Maris seems to have acquired hisknowledge of painting at an early age, andhe became a great admirer of the old masters.He went with his brothers to Antwerp, andthere first came under the Romantic influence,which later had such an effect on him. Heafterwards went with them to Paris, wherehe stayed until some years after the Commune,and then he made his home in London. Therehe lives the life of a recluse, apart from hisfellows, an enthusiast in art, yet unable topaint much, as he is ever seeking an idealhe finds it impossible to realize. Before this a feeling of dissatisfaction hadbeen growing on him, and he gradually gaveup painting those charmingly realistic yetideal pictures, like the works of the old mastersin their careful attention to detail, and theirstrong and even quality, which he had pro-duced from about i860 until 1874. Thesewere full of beautiful bright colour, and showedgreat delicacy of execution, like the well-knownpaintings called the Butterflies, and He
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Plate XXXVa.— The Christening. Matthew Maris. MATTHEW MARIS 167 is coming. These and similar ones revealthe artist of consummate skill, endowed witha rare gift of colour, and they are held bymany to be his finest efforts. Still, to others the few pictures that he haspainted since about 1880 have a fascination anda charm greater, though much more elusive,than his earlier ones possess. They are mostlyin colour tones of pearly grey and delicatebrown, and the drawing is much more vague.But they have a strangely suggestive powerwhich makes them linger in the memory.The Bride in the Mesdag Museum belongsto this period, and the lovers dreamily stroll-ing along The Walk, as seen in one of theloveliest of water-colour drawings, and to these,and others of similar fantastic beauty, oneturns again and again. We realize that hereis something that has never before been paintedwith success, something that is new in art,the spirit made of more importance than theform. For as we look at these pictur

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