DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0227
DUTCH PAINTING
201
1533), who knew Italian Art well and who was a follower of Albrecht
Diirer. Some of his paintings are very decorative and his chess and
card-players may almost be said to begin Dutch genre painting,
brought to such perfection by the Little Dutch Masters. By the end
of the Fifteenth Century a great many Dutch painters had visited
Italy; some of them had studied there; and some of them had worked
there. Jan van Scorel (1495-1562), for instance, was kept in Rome
for five years by Pope Adrian VI, who was, himself, a native of Utrecht.
Jan van Scorel was the master of Antonio Moro, or Antonis Mor
(1512-1577), who went to Rome, was admitted to the Guild of Paint-
ers in Utrecht in 1547, and leaped into fame with a portrait of Cardinal
Granvella, who took Moro in his train to Brussels. Moro soon became
Court-Painter to the House of Hapsburg and travelled about to various
courts, painting portraits of Royalty. Michiel Jansz Mierevelt
(1567-1641), was portrait-painter to the House of Orange and Nassau
and his pupil, Paulus Moreelse (1571-1638), a native of Utrecht, was
hardly less popular. The greatest painter of Corporation Pictures
before Frans Hals was Jan van Ravensteyn (1572-1657).
The early Dutch landscape-painters travelled to Italy, Switzerland,
and even Norway; but none of them acquired the reputation of two
Dutchmen who found inspiration at home. Jan van Goyen (1596-
1656), and Jan Wynants (i62o?-i682), were the first to take pleasure
in their own country. Van Goyen loved the water, the boats, the
clouds, the mist, and distant towns silhouetted against the sky.
Wynants showed the charm of the lonely walk that led through the
dunes to the sea. Wynants formed Adriaen van de Velde (1635-1672),
who carried landscape-painting so far that he comes very close to
the Barbizon School of the Nineteenth Century. Then there are two
Dutch artists who are doubly famous for their landscapes and animals:
Aelbert Cuyp (1620-1691), “the King of Dutch landscape-painters,”
noted for his golden light and elegant cavaliers riding fine horses; and
Paul Potter (1625-1654), known far and wide for his Bull, in the Hague
Gallery, painted when the artist was only twenty-two; but not so
fine a work as La Vache qui se mire {The Mirrored Cow) in the same
gallery. Of these two pictures the French critic, Burger, wittily re-
201
1533), who knew Italian Art well and who was a follower of Albrecht
Diirer. Some of his paintings are very decorative and his chess and
card-players may almost be said to begin Dutch genre painting,
brought to such perfection by the Little Dutch Masters. By the end
of the Fifteenth Century a great many Dutch painters had visited
Italy; some of them had studied there; and some of them had worked
there. Jan van Scorel (1495-1562), for instance, was kept in Rome
for five years by Pope Adrian VI, who was, himself, a native of Utrecht.
Jan van Scorel was the master of Antonio Moro, or Antonis Mor
(1512-1577), who went to Rome, was admitted to the Guild of Paint-
ers in Utrecht in 1547, and leaped into fame with a portrait of Cardinal
Granvella, who took Moro in his train to Brussels. Moro soon became
Court-Painter to the House of Hapsburg and travelled about to various
courts, painting portraits of Royalty. Michiel Jansz Mierevelt
(1567-1641), was portrait-painter to the House of Orange and Nassau
and his pupil, Paulus Moreelse (1571-1638), a native of Utrecht, was
hardly less popular. The greatest painter of Corporation Pictures
before Frans Hals was Jan van Ravensteyn (1572-1657).
The early Dutch landscape-painters travelled to Italy, Switzerland,
and even Norway; but none of them acquired the reputation of two
Dutchmen who found inspiration at home. Jan van Goyen (1596-
1656), and Jan Wynants (i62o?-i682), were the first to take pleasure
in their own country. Van Goyen loved the water, the boats, the
clouds, the mist, and distant towns silhouetted against the sky.
Wynants showed the charm of the lonely walk that led through the
dunes to the sea. Wynants formed Adriaen van de Velde (1635-1672),
who carried landscape-painting so far that he comes very close to
the Barbizon School of the Nineteenth Century. Then there are two
Dutch artists who are doubly famous for their landscapes and animals:
Aelbert Cuyp (1620-1691), “the King of Dutch landscape-painters,”
noted for his golden light and elegant cavaliers riding fine horses; and
Paul Potter (1625-1654), known far and wide for his Bull, in the Hague
Gallery, painted when the artist was only twenty-two; but not so
fine a work as La Vache qui se mire {The Mirrored Cow) in the same
gallery. Of these two pictures the French critic, Burger, wittily re-