DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52800#0026
6
ORLEANS COLLECTION.
and a just representation of those scenes which
are to be found in humble life, entitle its best
artists to a situation in the first cabinets of paint-
ings. Adrian, and Isaac Ostade, Gerard Dow,
Francis Mieris, the elder, and Jan Steen, are
among the chief painters who have illustrated
this branch of the art.
For originality of manner and execution, for a
powerful and singular management of light and
shade, Rembrandt stands unique.
In Landscape painting, the Dutch school has
also to boast of many eminent painters. The
beautiful pastorals of Berchem, and of Adrian
Vandevelde, the fresh mornings of Paul Potter, the
sunny meadows of Albert Cuyp, in ail of which
these masters have enriched their subjects with
groups of cattle, rivalling nature herself;—the
sweet compositions, the tender execution of Karil
du Jardyne, the huntings, hawkings, and watering-
places of Philip Wouvermans, are all objects which
render this school attractive to the amateur, and
which captivate with their fascinating effect.
The schools of France, of Spain, of Flanders,
and of Holland, reached the most splendid part of
their career before the middle of the seventeenth
century, and towards the close of the same age
they had all died away, or sunk into insignificance.
Thus passing over the earlier stages of the
ORLEANS COLLECTION.
and a just representation of those scenes which
are to be found in humble life, entitle its best
artists to a situation in the first cabinets of paint-
ings. Adrian, and Isaac Ostade, Gerard Dow,
Francis Mieris, the elder, and Jan Steen, are
among the chief painters who have illustrated
this branch of the art.
For originality of manner and execution, for a
powerful and singular management of light and
shade, Rembrandt stands unique.
In Landscape painting, the Dutch school has
also to boast of many eminent painters. The
beautiful pastorals of Berchem, and of Adrian
Vandevelde, the fresh mornings of Paul Potter, the
sunny meadows of Albert Cuyp, in ail of which
these masters have enriched their subjects with
groups of cattle, rivalling nature herself;—the
sweet compositions, the tender execution of Karil
du Jardyne, the huntings, hawkings, and watering-
places of Philip Wouvermans, are all objects which
render this school attractive to the amateur, and
which captivate with their fascinating effect.
The schools of France, of Spain, of Flanders,
and of Holland, reached the most splendid part of
their career before the middle of the seventeenth
century, and towards the close of the same age
they had all died away, or sunk into insignificance.
Thus passing over the earlier stages of the