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Among therecent painters but a few can be mentioned. Verhagen, Antwerp,
Brussels, Ghent, and Vienna Mus.
He preferredthe quiet haven to the open sea.
His earliestwork dates from 1627, and is a little hard and sharp in detail
andcold in coloring.
During the sixteenthcentury everything had run to bald
imitation of Renaissance methods. ; Cocxie, Antwerp, Brussels, and Madrid
Mus.
He had a slight, smooth brush, muchdetail, and a profusion of color. Later
on came acomparatively new man, Louis Gallait (1810-?
He was undoubtedly the
equal ofany of his time, though not so near to nature, perhaps, as
Hobbema.
Quiet and dignifiedhe carried taste through all branches of his
art.
He also used morebrilliant and varied colors, but he was not so happy in
harmony as Vande Velde.
He built upthe importance of certain features by
dragging down all otherfeatures.
Berlin; Wappers, Amsterdam, Brussels,
Versailles Mus. Van der Neer (1603-1677) and Everdingen(1621?
, 33 in Vienna,
52 in Madrid, 34 in Louvre, 40 in St.
; Moro, portraits Madrid, Vienna, Hague,
Brussels, Cassel, Louvre, St.
In addition there are Kever, Poggenbeek, Bastert,
Baur, Breitner,Witsen, Haverman, Weissenbruch.
The other Rembrandt pupils and
followers were Poorter (fl. , Louvre, Amsterdam, Berlin, Dresden; Hobbema, best
works in England, Nat.
His work was alittle dry and formal, but graceful in
composition, and good in lightand color. He had much dignity, force,
andelaborateness of costume, and stood quite by himself. , Hermitage, Madrid;
Justus van Ghent, Last Supper Urbino Gal. Manyof Ruisdaels works have darkened
through time. Quite the reverse of him was FranzHals (1584?
The lowest point of
affectation had been reached. They were realistic at times
togrotesqueness.
They all took an influence moreor less pronounced from Rubens.
A few people with some accessory objects were allthat he required to make a
picture.
Cocxie (1499-1592), the Flemish Raphael, was but anindifferent
imitator of the Italian Raphael.
In colorhe was again arbitrary but forcible
and harmonious.
His brush was very broad in its sweep, very sure, verytrue.
,
and Hospital Antwerp, Turin, Uffizi, Munich, Vienna; Van der Meire, triptych
St. He was the most independentand original of the followers, of whom there was
a host. What he sawhe could portray with the most telling reality.
He was
themaster of Lucas van Leyden (1494-1533), the leading artist of theearly
period. It is mournful, suggestive, wild,usually unpeopled.
Petersburg
(Wauters), best examples in Vienna, Louvre, Nat.
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