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xliv HISTORICAL SKETCH OF ART
The earlier pictures of Jan Gossaert, surnamed Van Mabeuge or Mabuse
(flourished 1503 , please by force of th erly modelling and
intense colouring. Bernard van Orley ( 1 471-1541) turned his re
pen e uaome 3 to g good account in m > of the Raphael-
ig he reproduced
raise ae industry only of
and find the ins ipidity
m in the work of Frans
imply repulsive; if, again,
for his literary acquire-
utility, still one branch of
the Flemings achieved and sustained
marked success, viz. PoRTRAITURE, represented in the 16th centur
by Jan van Scorel or Schooreel (1495- 1562), Ant. Moor (154
1588), the elder Peter Pourbus (1540-1580), and Geldorp. The
earliest ¢ eaproact 1€ genre and landscape painting which later at-
tained to such m ¢ proportions must not be allowed to escapd
observation. Th is are, in fact, already to be detected in the
works of Van Eycl he principle of a careful study of Nature, and
delight in every ans of | early asserted itself, giving to every
obj vever insignificant, however obscure, an artisticcharm. The
painting of still life, the pourtraying of those humorous incidents,
never wanting in domestice xperience, which served to illustrate every-
day life among the people, came early into vogue, though at first dis-
agreeably qualified by the intermixture of the grotesque (in the sh: ape
of Deyils’ dances). Old Brueghel (see below) and Vinek-Boons had
already painted rustic subjects, Patinir of Dinant and Paul Bril land-
scapes, with richness of effect, and Roelant Savery animal picture
with pee ho, C
Michael van Co
in conception and the
de Vriendt, surnam
Karel van Mander is
ments, and Hubert G
the art remains in whi
Among all these painters, the members of the family of
Brueghel or, as sometimes written, Bre ughel, attract our interest most
effectually. They not only afford the most strikine example of that
highly propitious practice, the hereditary prosecution of the same
craft, but also excellently illustrate the transition from the old to
the new style of art. Peter Brueghel the elder, or ‘Peasant Brueghel’
(about 1525-69), the earliest sup wseninllre of this race of paint-
ers, travelled in Italy for the purpose of studying art, but re-
mained faithful to the subjects and ireatment of his native land.
His pee are of a purely Flemish type, while his delicate colour-
ing is content to reveal the study of nature in northern climes
ave Of his two sons Peter or ‘Hell-fire’ Brueghel (1565-1637)
and Jan or ‘Velvet’ Brueghel (1568-1678),
ed his surname from his partiality
the latter, who acquir-
for wearing velvet, is the more
important. He acquired eminence not only in paying homage to
the widely-extended national taste for flower- -pieces, but also by
his landscapes, which are distinguished for the tender bluish tone
of their middle distance and background (not, however, always
true to nature ), and for the marvellous finish of detail in the small |