DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0200
188
ME. BAEING'S COLLECTION.
Letter XVI.
charming picture reminds us in composition of Cuyp ; it is also
painted with a greater body than usual, so that the delicacy of
this master is combined in some measure with the power of Cuyp.
2, A quiet sea with vessels, one of which is firing a cannon. In
the cool grey tones, which are beautifully graduated into the
tender distance, this picture approaches the manner of Euysdael.
Inscribed with name.
Van de Capella.—A quiet sea with boats, transparently
executed in his warm tones. In a picture of similar subject the
sky and sea are rendered in a reddish, heavy tone.
Ludolph Backhuysen.—1. Several vessels sailing with a brisk
breeze. In front a boat with a white sail lighted by the sun. Of
rich and happy composition, and carefully executed in cool clear
tones. It belongs to the best period of the master.
2. An agitated sea breaking upon the sands. A boat being
launched. A picture of the finest quality.
Van der Heyden.—A church of mixed Gothic and Italian
styles ; a stately edifice in brick : spirited figures introduced by
Adrian Van de Velde. This picture combines his usual high
finish with uncommon power, transparency, and keeping.
Emmanuel de Witt.—Two small but genuine architectural
subjects, of unusual warmth and depth of chiaroscuro.
Van Vliet.—The interior of a church, which in sunny trans-
parency and every other quality is no way inferior to the best
pictures of the foregoing masters.
Berkheyden.—The view of a Netherlandish town, with nume-
rous figures assembled in a square. The masterly treatment,
the striking, sunny effect, and unusually careful execution, render
this picture very attractive. Formerly in the Verstolk Gallery.
I now proceed to notice some pictures of the early English school.
Two subject pictures by Hogarth looked very attractive, but were
hung too high and in too dark a place to permit of any opinion.
Sir Joshua Reynolds.—The collection is not fortunate in the
specimens of this master. Two portraits, a little girl and a young
lady, were originally very excellent, but are now quite faded. A
subject of Venus and Cupid, with Amorini, is very affected in
the composition, devoid of modelling, and hard in the outline.
Also a picture of a girl and two boys by torchlight, in which he
was usually so successful, is hard and empty.
ME. BAEING'S COLLECTION.
Letter XVI.
charming picture reminds us in composition of Cuyp ; it is also
painted with a greater body than usual, so that the delicacy of
this master is combined in some measure with the power of Cuyp.
2, A quiet sea with vessels, one of which is firing a cannon. In
the cool grey tones, which are beautifully graduated into the
tender distance, this picture approaches the manner of Euysdael.
Inscribed with name.
Van de Capella.—A quiet sea with boats, transparently
executed in his warm tones. In a picture of similar subject the
sky and sea are rendered in a reddish, heavy tone.
Ludolph Backhuysen.—1. Several vessels sailing with a brisk
breeze. In front a boat with a white sail lighted by the sun. Of
rich and happy composition, and carefully executed in cool clear
tones. It belongs to the best period of the master.
2. An agitated sea breaking upon the sands. A boat being
launched. A picture of the finest quality.
Van der Heyden.—A church of mixed Gothic and Italian
styles ; a stately edifice in brick : spirited figures introduced by
Adrian Van de Velde. This picture combines his usual high
finish with uncommon power, transparency, and keeping.
Emmanuel de Witt.—Two small but genuine architectural
subjects, of unusual warmth and depth of chiaroscuro.
Van Vliet.—The interior of a church, which in sunny trans-
parency and every other quality is no way inferior to the best
pictures of the foregoing masters.
Berkheyden.—The view of a Netherlandish town, with nume-
rous figures assembled in a square. The masterly treatment,
the striking, sunny effect, and unusually careful execution, render
this picture very attractive. Formerly in the Verstolk Gallery.
I now proceed to notice some pictures of the early English school.
Two subject pictures by Hogarth looked very attractive, but were
hung too high and in too dark a place to permit of any opinion.
Sir Joshua Reynolds.—The collection is not fortunate in the
specimens of this master. Two portraits, a little girl and a young
lady, were originally very excellent, but are now quite faded. A
subject of Venus and Cupid, with Amorini, is very affected in
the composition, devoid of modelling, and hard in the outline.
Also a picture of a girl and two boys by torchlight, in which he
was usually so successful, is hard and empty.