File:The art of painting in the nineteenth century (1908) (14783468075).jpg

Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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that although themother is dead the children will not want in love.Or let us look at the lonely Jew lost in thought,or at any other picture by Israels; everywherewe find the same noble outlook on life. He doesnot make it gay by patching the old rags withmotley strips and stripes, but by infusing into itthe tenderness which is the result of right livingand right thinking. His technique is sufficient to his needs, althoughprofessional men have no difficulty in detectingits weak points. He himself is quoted as havingremarked to Liebermann, Barring Millet, thereis no other artist who knows so little of drawingand painting as I, and has yet painted such goodpictures. Sunnier than the art of Israels is that of AdolfArtz (1837-i890), an excellent genre painter,who follows more distinctly the endeavors ofthe transition painters, notably of Jan Bosboom(1817-1891). The latter was especially good inthe light of his church interiors; Artz, however,is best in his genre pieces of the lower and the
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DUTCH PAINTING I4I middle classes. Fully his equal is Christoffel Bisschop (1828 ), whose art has been well characterized by the title of one of his pictures, Sunshine in Home and Heart. Bernardus Blommers (1845 ) is the vigor-ous writer in prose compared with the poetsIsraels, Artz, and Bisschop. His coloring isgayer and his lines are less refined, — more sug-gestive of the active life that physically healthypeople lead. Several of these figure painters prefer a land-scape to an interior as the setting of their figures;and show the same intimate understanding ofsilent nature as of human beings. The Dutchlandscapists, in fact, are as important as thefigure painters. Their best known representativeis Anton Mauve (1838-1888), who in his cattlepieces almost equals the sweet melancholy ofIsraels. He considers the surrounding landscapeas carefully as the animals, and as a colorist seemsto pay special attention to those colors whichappear in the high lights. The two brothers Wilkm Maris (

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