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HISTORICAL SKETCH OF ART
mediocrity. To enumerate the names of all who occupied this par-
ticular field is simply impracticable, for it is precisely in this fleld
that Dutch art was most prolific. We must, however, mention (as
akin to the foregoing) Paul Potter (b. 1625; d. at Amsterdam, 1654)
chief of animal-painters, to whose pictures landscape lends idyllic
arms, and whom we must echere as a Classical example of the
entire fraternit I ughtsman, he was at least as
t, especially in his smaller pictures. Karel du
exuberantly fertile painter, owes his best
it the inequality of his works shows
his inability st other less favourable influences. Other
‘idyllic painters, though standing eral degrees lower, are Jan
Asselyn (1610 laes Berchem (1620-83), both of A
sterdam, :
As la me
qualities
en of The
Jan van G
yp of Dordrecht (1620-91), son
eminent as a painter of portraits and
3 (b. ca. 1625 at Haarlem, d. ca. 1682 at Am-
Sy
ao
sterdam), for nthe number of his pupils and } is own steady
develo opment; van Everdingen (Alkmaar, 1621-75); Salomon
van Ruysdael ( 4600-4670 ; Haarlem ); Jacob van Ruysdael
(ca. 1628-1682, ‘excelling all other
in a fee
arlem and Am lan
master or the poetry of northern landscay
with the power graphic em bodime nt?; and Meindert Hobbema
(. 1638, at Amsterdam ; d. 1709), whose merits have only
ently come to be appre ciated. His works exhibit a mode
ae for composition; the same motive constantly recv in
pictures (the figures are for the most part by another hand); but
delicacy and thoroughness of elaboration, more particularly in his
treatment of atmosphere ai ht, his pictures must be highly prized
as works of Beat of the st order. — Jan van der Meer of
Haarlem (1628-91) shows himself near of kin to Jacob van Ruysdael.
Various other landscape - painte iained true to their national
scenery, but in many cases they sed into a kind of mannerism,
which is very apparent in the moonlight-scenes, confl tions, and
winter-scenes of Aart van der Neer (Amsterdam, 1603-77). The
better pictures of the last-named arti his forest-land-
scape in the Van der Hoop collection, are, however, not inferior to
those of Ruysdael and Hobbema, whom he also resembles in his
death in poverty and obscurity. Fashion also began to demand
the study of Italian lar apes, and in the second half of the
17th century compositions of this kind are decidedly predominant.
Among the earliest examples of this eo are Jan Both of
Utrecht (ca. 1610-1652), Adam Pynacker (1622-73), and Herman
Swanevelt (ca. 1600-1655). i
It is well known how marine painting (Simon de Vlieger, 1601-
ca, 1653, at Rotterdam, Delft, and Amsterdam; Willem van de Velde,
scape combined
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