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IN THE NETHERLANDS. xly
figures occupying the foreground. The sons of the two brothers bore
ae, same ee names as their fathers, followed the same pro-
etuated the manner of the E srueghels down to the
17th century.
vious attainments however, sink into insignificance beside
ary capacity d d by the Flemish artists of the 17th
ehty years’ revolt of the Dutch against Spanish oppres-
satanend. Though bleeding from a thousand 1 eas the
youthful Republic had triumphantly maintained itself, and con-
quered for itself virtual recognition. Two worlds separate and distinct
from one another y ompressed into their narrow confine
In the still Spanish nds, forming the Southern division,
the old régime in politics as in faith remained intact; in the Stat
i 11 of Holland, not only was a new form of government est
but new political and economical views, and a new form of
h, were in the ascendant. Both these worlds find in contemporary
art a clearly 1ed expression. The art of Peter Paul Rubens
serves to sot fy the ancient régime and the ancient faith, and was
by this means in eff ssimilated to the art of Italy, and beguiled
Dutch art, on the other hand, grew out
faith, and thus reflects the provi incialism
and civic pretensions which now became the characteristic features of
ypolitic. Here the schools of Haarlem, the Hague, Leyden,
and equal merit. Historical pictures are
‘ of the civic functionaries and rulers;
the veil of mystery is withdrawn from the representation of ed
subjects, and, s place, abare matter-of-fact and modernised treat-
ment is introduced, in conformity 1 the Protestant views of the
16th and 17th centuries, which regarded the Bible in a very different
light from the old Church. An historical notice of the condition
of national culture would not in itself serve to throw much light
on the relations of Flemish and Dutch painting of the 17th century,
but is, notwithstanding, not altogether superfluous. Such a study
would be the means of putting in its true light, the contrast, so
often overlook ween Rubens and the Dutchmen. Irrespective
of much superficial resemblance (e. g. a similar tone of colour), the
yl ive entirely different sources and aims; and while in
chool of Rubens the old notions, old practices disappeared,
that art be gan to rey itself in Holland which to this day is re-
1 approbation. In the study of Rubens, the
mind must frequently be guided by reference to bistory; the Dutch,
on the other hand, we hail as bone of our bone, and flesh of our flesh.
teehee ch
All pre
the extraox
century
sion 1
ad=
by the mythologies
of the new life and then
0
Amsterdam, ]
portrait groups
the
ceived with unqualifi
Rubens.
For centuries Cologne and Antwerp have contended for the hon-
our of having given birth to the greatest of Belgian painters. Lat—
terly, however, their claims haye been surrendered in fayour of the
ROTTEN BET Ie NEE ane ae enn ee
1 aa
‘ lee
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