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IN THE NETHERLANDS. xli
called the age of Diirer, so in Bruges a perfectly clear conception may
still be had of the period which witnessed the labours of the Eycks
and Memling. But, in any ca two admirable works by Jan van
Byck in the Academy at Bru afford a valuable opportunity of
appreciating his art. In keeping with a strong determination
towards a more portrait-like and realistic conception of nature, is
the endeavour, observable in his method, after a greater fulness of
outline and an exact rendering of textures. The direction of his
aim is indicated by the f of his having painted genre pictures
with a definite motive — the ‘Bath-room’ for example.
an be no doubt that Jan van Eyck had pupils; but
little doubt that there were painters, both in Ghent
and Bruges, who adopted Van E method, and imitated his
style, though not recognised as members of his school. Owing to
unty information possessed of art in the Netherlands during
{5th century, nothing can be conclusively affirmed on the sub-
Petrus Cristus may be mentioned as a pupil of Jan van Kyck,
as independent masters Gerard van der Meire and Hugo
van der Goes, of Ghent.
The people w as averse to centralisation in the domain of
e as in the conduct of state affairs. While the Van Eycks
ri ir art from the Valley of the Meuse to Bruges and
artist was founding a school of painting at
VEYDEN is apparently identical with that
Rogelet de la Pasture who, in 1426, worked as a pupil of Robert
There cs
there can be
Campin at Tournai, and in 143} r in the Paint-
ers’ guild. We find Van der Weyden installed as painter to the town
of Brussels in 1436.
In 1450 he appears in Rome, as the first north-
erm painter of undisputed fame whose name was honoured by the
Italians, uncompromising though he was in adhering to the practice
of his native art. On his return he again took up his abode in
Brussels, still painting, and died in 1464. In the absence of any
signature, his works are confounded with those of Jan van Byck, with
whom he had nothing in common, and with those of Memling, who
was his pupil. They are, moreover, scattered far and near, and have
to be sought for at Madrid, Rome, Frankfort, Munich, Berlin, etc.
The Museum of Antwerp, however, possesses in the Seven Sacra-
ments one of the most prominent works of this master, who was
peculiarly successful in depicting scenes of dramatic interest
(Descent from the Cross); too often, however, his power of animated
expression betrays a want of feeling for beauty of form, and is
continually suggestive of tinted re
Hans Mumurne, the pupil of Van der Weyden, bears the least
possibleresemblance to him. According to a legend, which in earlier
times received general credence, Memling, having been wounded at
the battle of Nancy, was carried to Bruges, where, in gratitude for
the tender care bestowed upon him in the Hospital of St. John, he
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