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ART IN BELGIUM AND HOLLAND. Ixxix
ae
Examples of the modern Flemish
buildings are in this styl
Renais style, founded on na ative models, are the picturesque
National B at Antwerp Css 5-80) and the admirable Railway
gure both if Beyaert, J. J. van Ysendyc
: al de Ville at kaa sht, and hishandsome Southern
Station at ee erp, and the Palais d’Assche (p. 125) at Brussels by
the adherents of the Gothic style the most promi-
ent was J Louis 8 ea (As 18-94), architect of Antwerp
eohevee (48 and of Bru tation. Many architects have done
vood service in restoring ancient edific non g them we may
mention 1 Vietor Jamaer (4825-1902), who restored the picturesque
Brodhuis and much of the Grand’ Place at Brussels. ‘The Palais
de Justice in Brussels, th rgest edifice in the country, was built
by Joseph Poelaert (18 (7-79), who, by combining Doric, Egyptian,
rian, and other elements has succeeded in producing a distinc-
work of art, that is not only str ely imposing and picturesque
fromthe exterior, but has also succ ly solved various difficulties
in the interior. Since the closing decade of last century a band of
younger architects has appeared who, developing suggestions or-
iginally obtained from England, have become the first Continental
arvhitects to found, in connection with a new industrial art, an
entix modern architecture, quite independent of all previous
styles. heir leaders are Paul Hankar (1864-1901) and Victor
Horta, builder of the Maison du Peuple (p. 133). Henri van de
, an adherent of the same school, has had to seek in
Germany an adequate field for his acti IB: This ‘New Belgian’ style
is commonest in the suburbs of Brus
8
Jalat. Amon
1e
Velde (b. 18
At first glance the modern art of Holland seems almost meagre
in compari ith the artistic wealth of Belgium. The bare Dutch
churches contain almost no works of art, and there is scarcely a
striking monument in all the public squares of Holland. In the
domain of architectzre Amsterdam has few structures to compare
with the monumental buildings of the chief Belgian cities, apart
from the large Ryks Museum and the imposing Railway Station by
Peter Cuypers (b. 1827) and, quite recently, the Exchange and the
Insurance Bat Hendrik Petrus Berlage (b. 1856). Even in
painting Holland took a much longer time than Belgium to achieve
a really important 1001 of art. The historical painters of the
classical and romantic period are hardly represented even in the
public collections. It is sufficient to name Jan Willem Pieneman
(1779-1853), whose huge picture of the Battle of Waterloo hangs in
the Ryks Museum, though his chief merits are as a portrait painter
and as an active director of the Academy. We ae note also that
Ary Scheffer (14795-1858) was born in Dordrecht (p. 458), though he
is more appropriately assigned to the French school than to ‘the Dutch.
More interesting to us are the landscapes and genre pictures of the first
son vi
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