DOI Artikel:
Oliver, Maude I. G.: Dutch art at the St. Louis exposition
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20710#0343
Dutch Art at St. Louis
"the culture of bulbs by A. l. koster
principal figure was majestic and almost phantom- to the left, turning to look up at his master, and
like in its grim discharge of duty. The loyal dog the portion of a vessel in the upper right hand
corner, were effective notes in harmony with the
general theme. The Old Scribe, another of Israels'
best works in this collection, was a large canvas,
expressing an equal richness of sentiment, but
without quite] the same fortunate arrangement.
One felt that it was overdrawn—that it was
theatrical, rather than dramatic. Blommers, in
The Shell Fisherman, struck a cheerful vein.
The warm light of a summer sun pervades this
picture and envelops the interesting group, the
chief personage of which is the fisher-lad bending
over the well-filled net that is to be emptied into
the rustic cart. The other actors in this scene are
the two inquisitive mites of humanity directing
attention toward the older boy, a patient, sturdy-
looking horse, and a pitiful-looking dog. The
conception is bright, sincere, and very real. Willy
Martens, the delegated commissioner, in his work
called Harvesting Rye, showed another delightful
genre, rather too refined, but still exceedingly true
and dignified. This was one of four pleasing sub-
jects, all of about equal force and directness, from
the brush of Mr. Martens. It solved an agreeable
colour problem in the golden browns of autumn,
juxtaposed against the grey-green masses of foliage
and the tones of blue in the sky and in the gar-
ments of the women. The composition was well
knitted and poetic in treatment. We observed
serious, mature interpretation in the Winter
at Katwijk, by Willy Sluiter, who is scarcely more
than a youth. Possibly the strong contrasts might
' Arabian woman " by Abraham hesselink be criticised, but such a solidity and power of action
326
"the culture of bulbs by A. l. koster
principal figure was majestic and almost phantom- to the left, turning to look up at his master, and
like in its grim discharge of duty. The loyal dog the portion of a vessel in the upper right hand
corner, were effective notes in harmony with the
general theme. The Old Scribe, another of Israels'
best works in this collection, was a large canvas,
expressing an equal richness of sentiment, but
without quite] the same fortunate arrangement.
One felt that it was overdrawn—that it was
theatrical, rather than dramatic. Blommers, in
The Shell Fisherman, struck a cheerful vein.
The warm light of a summer sun pervades this
picture and envelops the interesting group, the
chief personage of which is the fisher-lad bending
over the well-filled net that is to be emptied into
the rustic cart. The other actors in this scene are
the two inquisitive mites of humanity directing
attention toward the older boy, a patient, sturdy-
looking horse, and a pitiful-looking dog. The
conception is bright, sincere, and very real. Willy
Martens, the delegated commissioner, in his work
called Harvesting Rye, showed another delightful
genre, rather too refined, but still exceedingly true
and dignified. This was one of four pleasing sub-
jects, all of about equal force and directness, from
the brush of Mr. Martens. It solved an agreeable
colour problem in the golden browns of autumn,
juxtaposed against the grey-green masses of foliage
and the tones of blue in the sky and in the gar-
ments of the women. The composition was well
knitted and poetic in treatment. We observed
serious, mature interpretation in the Winter
at Katwijk, by Willy Sluiter, who is scarcely more
than a youth. Possibly the strong contrasts might
' Arabian woman " by Abraham hesselink be criticised, but such a solidity and power of action
326