File:The Netherland galleries - being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries (1912) (14597866348).jpg

Identifier: netherlandgaller00prey (find matches)
Title: The Ball

The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : St. Botolph Society
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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ar among his contemporaneous brethrenof the brush. His son Willem van Mieris (1662-1747), who formed himself entirely on his fathersexample, did not equal him in colour or drawing.He chose his subjects among small tradespeople. More elaborate than van Mieris was one of Douspupils, Pieter Cornelisz. van Slingeland (1640-1691), of whom it was said that he spent fouryears to paint a lace jabot. No matter how de-tailed, his artistry was very choice and colourful.Dou found a talented follower for his compositionswith candle and lamp light in Godfried Schalcken(1643-1706). The greater part of his life he spentat Dordrecht, although he was employed for sometime in England by King William III, and at Dtis-seldorf by the Elector Johann Wilhelm. Besideshis candlelight genre he painted several daylighteffects, and also some larger portraits. He coulddraw well, but the smooth, polished surface of hisworks is unpleasant, and -the labour bestowed uponthem too obvious. Less noted was a fellow pupil,
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TTbe (Benre painters 113 Dominicus van Tol (1635-1676), of whom noth-ing is known. The Six collection and the Leydenmuseum have characteristic little genres of hisbrush. At first apprenticed to van den Tempel,we find Arie de Vois (1631-1680) soon underDous tuition. His examples in the Ryksmuseumand the Mauritshuis indicate his witty drawing andclear colour scheme. He married rich, whichcaused him to neglect his easel for some time, butchanged circumstances compelled him, after tenyears of dawdling, to take up again his palette andbrushes. One of the greatest masters of the Dutch schoolnow claims our attention. Jan Steen (1626-1679),with Hals and Ruisdael, is one of the trio who fillthe second step below Rembrandts supremacy, asa goodly company crowds the step below them.Did not Reynolds compare him with Raphael indrawing, Burger with Titian in colour? and willyou not agree with me that Velasquez never painteda dwarf or a little princess better than we see inSteens Menagerie in the Mau

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