DOI Page / Citation link:
https://doi.org/10.11588/diglit.62819#0433
SCHOLARS AND IMITATORS.
359
to that of Rubens, and painted with a power of handling and
brilliancy of colour second to no one ; neither of these qualities,
however admirable in themselves, can compensate for the
ignoble expressions and vulgarity of forms which appear in most
of his works. One of his grandest productions is in the House
in the Wood, at the Hague; it represents a triumphal entry
of Frederick William Prince of Orange. Another capital
work by his hand is in the chapel at Blenheim—a Descent
from the Cross. He died in 1678, aged eighty-four.
Peter Van Mol. That the works of this painter are so
little known must be attributed, in a great measure, to their
being frequently ascribed to Rubens, of whom it is said he
learned the art of painting, and was, for many years, employed
by him in forwarding his works. The original pictures
of Van Mol are coarse imitations of his master’s, possessing
all his defects but none of his beauties. He was born at
Antwerp, in 1580, and died at Paris, in 1650.
Cornelius Schut. This artist was born at Antwerp, in
1600, and became a disciple of Rubens, and ultimately one of
his most eminent scholars; possessing a poetical genius and a
ready invention, he was enabled to imitate the historical and
allegorical compositions of his master. He painted many large
pictures for churches and public buildings; among these may
be enumerated the cupola of Notre Dame, at Antwerp, 44 the
Martyrdom of St. George,” now in the Academy of the same
city, and an Assumption, formerly in the church of the Jesuits
at Ghent. His latter pictures have a greater resemblance to
the style and colouring of Van Dyck than to that of his
master. He died in 1660, aged sixty.
John Van Hoeck. He was one of the many pupils and
active assistants of Rubens, and is mentioned as being an artist
of considerable abilities. On quitting his master, he travelled
to Italy for improvement; and on his return, was invited by
359
to that of Rubens, and painted with a power of handling and
brilliancy of colour second to no one ; neither of these qualities,
however admirable in themselves, can compensate for the
ignoble expressions and vulgarity of forms which appear in most
of his works. One of his grandest productions is in the House
in the Wood, at the Hague; it represents a triumphal entry
of Frederick William Prince of Orange. Another capital
work by his hand is in the chapel at Blenheim—a Descent
from the Cross. He died in 1678, aged eighty-four.
Peter Van Mol. That the works of this painter are so
little known must be attributed, in a great measure, to their
being frequently ascribed to Rubens, of whom it is said he
learned the art of painting, and was, for many years, employed
by him in forwarding his works. The original pictures
of Van Mol are coarse imitations of his master’s, possessing
all his defects but none of his beauties. He was born at
Antwerp, in 1580, and died at Paris, in 1650.
Cornelius Schut. This artist was born at Antwerp, in
1600, and became a disciple of Rubens, and ultimately one of
his most eminent scholars; possessing a poetical genius and a
ready invention, he was enabled to imitate the historical and
allegorical compositions of his master. He painted many large
pictures for churches and public buildings; among these may
be enumerated the cupola of Notre Dame, at Antwerp, 44 the
Martyrdom of St. George,” now in the Academy of the same
city, and an Assumption, formerly in the church of the Jesuits
at Ghent. His latter pictures have a greater resemblance to
the style and colouring of Van Dyck than to that of his
master. He died in 1660, aged sixty.
John Van Hoeck. He was one of the many pupils and
active assistants of Rubens, and is mentioned as being an artist
of considerable abilities. On quitting his master, he travelled
to Italy for improvement; and on his return, was invited by