File: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 (1908) (14770775141).jpg

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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. It is a landscape, so ama-zingly simple in its painting, that it scarcely needsanalysis, yet as mysterious in the manner of itsatmosphere and light effects, as any landscape everlimned. The almost empty foreground is domi-nated by the view of the town with its red roofsand the purple and yellow bricks of the houses,drawn by an unhesitating and unfaltering hand.With instinctive selection the brilliant sunlightgilds here a spire, there a salient gable. The vague,greenish reflections in the sluggish, gray water ofthe canal form one of the quiet colour notes to beadded to the vigour and brilliancy of its colourgamut. It is a sumptuous canvas of amazingstrength. Of the remaining pictures in this room it is wellto linger before a winter-landscape by Jan van deCapelle, better known as a marine painter; beforestill lives by van Beyeren, Jan Weenix, and Ruysch;portraits by Nic. Maes, Jakob van Loo, and A.Cuyp. A painting of an Officer is from thebrush of the early Willem Duyster, of whom few
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Ube Ibague Galleries 321 paintings are extant. It was formerly attributedto Palamedes, and even Dr. Bode gave it to JacobDuck, until the well-known London expert CharlesDowdeswell, by comparing it with other signedworks of this rare master, has indubitably estab-lished the true attribution. When we take a look in the corner-room X, weare amused by a number of clever pastels by Cor-nelis Troost, which under various titles give a suc-cinct insight in social customs of the early i8thcentury. The scenes are designed to illustrate con-temporaneous plays. A crayon portrait by Tisch-bein of Princess Wilhelmina of Orange hangs alsoin this room. Room XI contains some of the most valuabletreasures of the collection. On the right-end wallhangs the far-famed Young Bull/ by Paul Pot-ter. The supreme merit of this large canvas is thephotographic exactitude in which the young bullis portrayed. The other figures are no whit betterperformances than Verboeckhoven, for instance,has done at his best. But

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