DOI article:
Oliver, Maude I. G.: Dutch art at the St. Louis exposition
DOI Page / Citation link:https://doi.org/10.11588/diglit.20710#0341
Dutch Art at St. Louis
Culture of Bulbs, by Anton Louis Koster. Here a
more realistic treatment was observed. The parallel
rows of gay spring flowers in well graded perspec-
tive formed a sufficient foreground to maintain the
hazy distance. The composition, with its single
denuded tree in the middle distance, its faintly
outlined city roofs on the horizon, was simple
and unaffected, and it declared a refreshingly
optimistic understanding. Turning from this
to the crisp snow scene from the palette of
Van Soest, we noted the remarkable modelling
of foreground, the delicate variations of colour,
the satisfactory balance of masses. Another ex-
ample of earnest, personal sentiment was the
romantic landscape, entitled Evening, by Bernhard
Schregel. A weird grace animated this effort,
particular interest being centred in the spectral
tree-trunks. In them was expressed, not so much
the action as the spirit of the wind, with a certain
subtle accent in the solitary figure near the left of
the picture.
In reference to the depicting of peasant life,
what nation is there that portrays genre subjects
with such tender sympathy as does Holland ?
The mighty Israels, for example, apart from
his debatable technique, possesses that rare
gift of ennobling the humble avenues of life
with an eloquence which bids one approach his
works in an attitude of reverence, not for the
things themselves, but lor the principle which they
represent—human brotherhood. The St. Louis
collection contained six oil paintings and one etch-
ing by this modern master. That the sureness and
vigour of his hand is undiminished at this his
advanced age, was evidenced by the telling canvas
called Painful and Joyful—the latest essay from
his brush. A domestic interior, a soft light flowing
into the little abode, a pale woman beside the
crude cradle, comprised the minutia of the settings ;
but the "human touch" was so expressed that one
turned from this subject with moistened eyes. The
work, however, for which Mr. Israels was presented
the Grand Prize, was entitled The Skipper. This
production was a masterly example of the manner in
which accessories may be made powerful and yet
subordinated to the central idea. All the mystery
and the eloquence of the sea were told in the frothy
surf that contributed so marvellously to the
grandeur of this painting. The three simple
masses were rather arbitrary as to placement,
although they were connected in thought, if not in
position. Mounted on his faithful old horse, the
" UNLOADING "
324
BY J. H. MASTENBROEK
Culture of Bulbs, by Anton Louis Koster. Here a
more realistic treatment was observed. The parallel
rows of gay spring flowers in well graded perspec-
tive formed a sufficient foreground to maintain the
hazy distance. The composition, with its single
denuded tree in the middle distance, its faintly
outlined city roofs on the horizon, was simple
and unaffected, and it declared a refreshingly
optimistic understanding. Turning from this
to the crisp snow scene from the palette of
Van Soest, we noted the remarkable modelling
of foreground, the delicate variations of colour,
the satisfactory balance of masses. Another ex-
ample of earnest, personal sentiment was the
romantic landscape, entitled Evening, by Bernhard
Schregel. A weird grace animated this effort,
particular interest being centred in the spectral
tree-trunks. In them was expressed, not so much
the action as the spirit of the wind, with a certain
subtle accent in the solitary figure near the left of
the picture.
In reference to the depicting of peasant life,
what nation is there that portrays genre subjects
with such tender sympathy as does Holland ?
The mighty Israels, for example, apart from
his debatable technique, possesses that rare
gift of ennobling the humble avenues of life
with an eloquence which bids one approach his
works in an attitude of reverence, not for the
things themselves, but lor the principle which they
represent—human brotherhood. The St. Louis
collection contained six oil paintings and one etch-
ing by this modern master. That the sureness and
vigour of his hand is undiminished at this his
advanced age, was evidenced by the telling canvas
called Painful and Joyful—the latest essay from
his brush. A domestic interior, a soft light flowing
into the little abode, a pale woman beside the
crude cradle, comprised the minutia of the settings ;
but the "human touch" was so expressed that one
turned from this subject with moistened eyes. The
work, however, for which Mr. Israels was presented
the Grand Prize, was entitled The Skipper. This
production was a masterly example of the manner in
which accessories may be made powerful and yet
subordinated to the central idea. All the mystery
and the eloquence of the sea were told in the frothy
surf that contributed so marvellously to the
grandeur of this painting. The three simple
masses were rather arbitrary as to placement,
although they were connected in thought, if not in
position. Mounted on his faithful old horse, the
" UNLOADING "
324
BY J. H. MASTENBROEK