Part 20

William Van de Velde, the younger, was the son of an artist of the same name, and the two together were the most famous sea-painters of their time. The father was specially commissioned by the East India Company to paint several of their ships. The son was for a time engaged in painting the chief naval battles of the Dutch. In 1675 they were both established in England, living at Greenwich, as painters to King Charles II., who granted each of them a pension of £100 a year; the father "for taking and making draughts of sea-fights"; and the son "for putting the said draughts into colours." The Vandeveldes, thus employed, "produced," says Macaulay, "for the king and his nobles some of the finest sea-pieces in the world." "The palm," says Walpole, "is not less disputed with Raphael for history than with Vandevelde for sea-pieces." But in no branch of art has the English School of this century made more conspicuous advance than in sea-painting, and those who are fresh from reminiscences of Turner or Lee, or, amongst later artists, of Hook and Moore and Brett, will hardly be inclined to agree at this day with such high praise of Vandevelde. "It is not easily understood," says Ruskin, "considering how many there are who love the sea, and look at it, that Vandevelde and such others should be tolerated. Foam appears to me to curdle and cream on the wave sides, and to fly flashing from their crests, and not to be set astride upon them like a peruke; and waves appear to me to fall, and plunge, and toss, and nod, and crash over, and not to curl up like shavings; and water appears to me, when it is grey, to have the grey of stormy air mixed with its own deep, heavy, thunderous, threatening blue, and not the grey of the first coat of cheap paint on a deal floor."

"It is not easy to understand," perhaps, but two helps towards understanding may be mentioned in Ruskin's own words. First, previous painters--including even the Venetians, sea-folk though they were--had all treated the sea conventionally. Vandevelde and his fellows, at any rate, endeavoured to study it from nature. Bakhuizen, as we shall see, like Turner after him, used to go to sea in all weathers, the better to obtain "impressions." Hence the Dutch sea-painting did mark an advance, and how great was its influence on later artists and sea-lovers we know from the case of Turner, who "painted many pictures in the manner of Vandevelde, and always painted the sea too grey, and too opaque, in consequence of his early study of him." And this grey and opaque rendering of the sea by the Dutch was to some extent due to natural causes. "Although in artistical qualities lower than is easily by language expressible, the Italian marine painting usually conveys an idea of three facts about the sea,--that it is green, that it is deep, and that the sun shines on it. The dark plain which stands for far-away Adriatic with the Venetians, and the glinting swells of tamed wave which lap about the quays of Claude, agree in giving the general impression that the ocean consists of pure water, and is open to the pure sky. But the Dutch painters, while they attained considerably greater dexterity than the Italian in mere delineation of nautical incident, were by nature precluded from ever becoming aware of these common facts; and having, in reality, never in all their lives seen the sea, but only a shallow mixture of sea-water and sand; and also never in all their lives seen the sky, but only a lower element between them and it, composed of marsh exhalation and fog-bank,--they are not to be with too great severity reproached for the dulness of their records of the nautical enterprise of Holland. _We_ only are to be reproached, who, familiar with the Atlantic, are yet ready to accept with faith, as types of sea, the small waves _en papillote_ and peruke-like puffs of farinaceous foam, which were the delight of Bakhuizen and his compeers"[97] (_Modern Painters_, vol. i. pt. ii. sec. v. ch. i. § 20; vol. iii. pt. iv. ch. xviii. § 30; _On the Old Road_, i. 283; _Harbours of England_, p. 18). The storms of Van der Velde are certainly unattractive, but the silvery daylight of his "calms at sea" gives to many of his works an enduring charm. This painter is well represented both in the Dulwich Gallery and in the Wallace collection.

150. A GALE AT SEA.

_Willem van de Velde_ (Dutch: 1633-1707). _See_ 149.

151. A RIVER SCENE.

_Jan van Goyen_ (Dutch: 1596-1656). _See_ 137.

Signed with the artist's name, and dated 1645.

152. AN EVENING LANDSCAPE.

_Aart van der Neer_ (Dutch: 1603-1677).

This painter was a native of Amsterdam, and lived and worked there. His pictures are now much appreciated; but he died destitute, and the pictures he left behind him were valued at only three florins apiece.

Aart (Arthur) van der Neer is the Dutch painter of "the hues and harmonies of evening." Before the door of the country house are a lady and gentleman, who have come out as if to gaze on one of such effects. This is one of the largest of his pictures--which is the more valuable as the figures are by Cuyp, whose name is inscribed on the pail; but 239 is perhaps more attractive.

153. THE CRADLE.

_Nicolas Maes_ (Dutch: 1632-1693).

Maes (or, in more modern form, Maas), was a pupil of Rembrandt, and ranks high among Dutch masters, being distinguished from many of the _genre_ painters by his richer colouring. "He assimilated the principles of his master," says Sir. F. Burton, "without adopting his subjects. In the class of pictures by which he is best known, namely, indoor scenes taken from ordinary life, he unites subtlety of chiaroscuro, vigorous colour, and great mastery in handling, with that true finish which never becomes trivial. The figures are finely drawn, and their action is perfect. Harmonies of red and black prevail in these works--sometimes pervading the picture in subdued tones; sometimes brought out in full contrasting force against white. The smaller pictures by Maes in this Gallery are among the finest examples of the former mode of treatment." Maes entered Rembrandt's studio in 1650 and remained there four years. He then returned to Dort, his native town, where he lived till 1678. In that year he moved to Amsterdam, where he remained to the end of his life, and was employed by most of the distinguished persons of his time. In these latter years he was mostly engaged in portraits. His earlier portraits (of which No. 1277 is a good specimen) are worthy of a pupil of Rembrandt. The later portraits are so different in style and inferior in quality that some critics ascribe them to the painter's son or some other artist of the same name. "Maes's favourite colour," says Havard, "was red. No artist uses this colour with more boldness or more success than he does in his earlier works [note, _e.g._ the crimson curtain which forms the background in 1277]. For this reason doubts have been raised if he ever painted the series of large bewigged portraits which have been attributed to him, sombre and morose faces, uniformly set against a dark background. It is difficult to imagine the brilliant painter of 'The Cradle' forgetting his skill in light and shade and his love of nature, to give himself up, as in these commonplace productions, to mannerism and affectation" (_The Dutch School_, p. 100).

154. A MUSIC PARTY.

_David Teniers, the younger_ (Flemish: 1610-1694).

Teniers, though a Fleming by birth, belongs rather to the Dutch School in style--being one of the principal _genre_ painters, of whom most of the other leading masters are Dutch. His art stands, however, in direct relation to that of the Flemish painters preceding him, through the want of spiritual motive common to him and to them. But Teniers and the _genre_ painters carry this banishment of spiritual motive a step further. "Rubens often gives instructive and magnificent allegory. Rembrandt, pathetic or powerful fancies, founded on real Scripture-reading, and on his interest in the picturesque character of the Jew. And Van Dyck, a graceful rendering of received Scriptural legends. But (with Teniers) ... we lose, not only all faith in religion, but all remembrance of it. Absolutely now at last we find ourselves without sight of God in all the world.... Farthest savages had, and still have, their Great Spirit, or, in extremity, their feather-idols, large-eyed; but here in Holland we have at last got utterly done with it all. Our only idol glitters dimly, in tangible shape of a pint pot, and all the incense offered thereto comes out of a small censer or bowl at the end of a pipe." The place of Teniers in art history is, therefore, so far as the ideals of art go, that he is, _par excellence_, "the painter of the pleasures of the ale-house and card-table" (_Modern Painters_, vol. v. pt. ix. ch. vi. §§ 10, 11; ch. viii. § 11). He did, indeed, occasionally venture on the ground of religious painting; but his essays in this sort are absurd. His devotion to _genre_ entirely hit the taste of his time, and his fame was rapid and enduring. He was taught the rudiments of art by his father, David Teniers, the elder, a mediocre painter of small rustic subjects (see 949); but his real masters were Rubens and Brouwer, though he did not actually study with them. In 1633, at the age of twenty-three, he received the dignity of master. Four years later he married the daughter of Velvet Breughel, the former ward of Rubens, who acted as witness at the marriage ceremony. His talents were in universal request. The Archduke Leopold-William, Governor of the Spanish Netherlands, appointed him his private painter, and gave him an office in his household. Queen Christina of Sweden and King Philip IV. of Spain were amongst his patrons. He gave Don Juan of Austria lessons in painting, and this prince painted the portrait of Teniers's son, and presented it to the master as a token of his regard. In 1644 he was chosen to preside over the Antwerp Guild of Painters. In 1647 he took up his abode in Brussels. His country-seat at Perck (see 817) was a constant resort of the Spanish and Flemish nobility. Shortly after the death of his first wife in 1656 he married Isabella de Fren, daughter of the Secretary of the Council of Brabant, and he strove his utmost to prove his right to armorial bearings. The king declared his readiness to grant the request, but only on condition that Teniers should give up selling his pictures. Teniers did not accept the condition, and transferred his energies to procuring a charter for an Academy of Fine Arts in Antwerp to which artists should alone be admitted, whereas the former Guild of St. Luke made no distinction between art and handicraft.

The aristocratic leanings of Teniers may be detected in his pictures. He is indeed, as we have seen, "the painter of the ale-house." "He depicted the manners of the Flemish rustic, told of the intimacy of his domestic life and his happy, coarse laughter. His folk go to market, clean out the stable, milk the cows, raise the nets, sharpen knives, shoot off arrows, play at nine-pins or cards, bind up wounds, pull out teeth, cure bacon, make sausages, smoke, sing, dance, caress the girls, and, above all things, drink, like the live Flemings they are." Yet as compared with some other masters of _genre_, Teniers seems to treat his rustics somewhat from the outside. Their expressions are often exaggerated, and their gestures pass into grimace. "Brouwer knew more of taverns; Ostade was more thoroughly at home in cottages.... Teniers seems anxious to have it known that, far from indulging in the coarse amusements of the boors he is fond of painting, he himself lives in good style and looks like a gentleman. He never seems tired of showing the turrets of his château of Perck, and in the midst of rustic merry-makings we often see his family and himself received cap in hand by the joyous peasants" (_e.g._ in 817). So too, though many of his interiors are very good, Teniers is on the whole at his best in open-air scenes. In his skies he has given (says Ruskin) "some very wonderful passages" (_Modern Painters_, vol. i. pt. ii. sec. iii. ch. i. § 20; H. Hymans in _Encyclopædia Britannica_; Wauters's _Flemish School_, p. 294). Good examples of Teniers continue to be greatly appreciated. The Belgian Government, for instance, gave £5000 in 1867 for the "Village Pastoral," now in Brussels Museum. The taste of Teniers may justly be condemned; his technique will always be admired. "Take," says Ruskin, "a picture by Teniers, of sots quarrelling over their dice; it is an entirely clever picture--so clever that nothing in its kind has ever been done equal to it; but it is also an entirely base and evil picture. It is an expression of delight in the prolonged contemplation of a vile thing, and delight in that is an 'unmannered' or 'immoral' quality" (_Crown of Wild Olive_, § 56). His bright palette, his freshness of handling, his straightforwardness in means and intent, give to the best works of Teniers a permanent interest. He "touched with a workmanly hand, such as we cannot see rivalled now"; and he seems "never to have painted indolently, but gave the purchaser his thorough money's worth of mechanism." Hence it is that Sir Joshua Reynolds, though condemning Teniers's vulgarity of subject, yet held up his pictures as models to students who wished to excel in execution. It should, however, be noted that his works vary very much in this respect. Many of his later pictures are painted so thinly that the ground is in places barely covered. They have been called "afternoons," not from their subject, but from the time the painter took in producing them.

This and the companion picture, 158, are characteristic specimens of the painter. The human specimens are ugly and vulgar; the pottery is pretty, and beautifully painted.

155. THE MONEY CHANGERS.

_Teniers_ (Flemish: 1610-1694). _See under_ last picture.

A man and his wife--usurers, we may suppose--counting their money. There is all the miser's misery in the withered careworn faces, all the miser's greed in the thin, tremulous hands. The man alone seems not quite to like some transaction which they are discussing; the woman--Portia's prerogative of mercy being reversed--seems to be thinking, "Come, man, don't be a fool: a bond is a bond."

156. A STUDY OF HORSES.

_Van Dyck_ (Flemish: 1599-1641). _See_ 49.

An interesting sketch as illustrating Van Dyck's affection for the horse. "In painting, I find that no real interest is taken in the horse until Van Dyck's time, he and Rubens doing more for it than all previous painters put together. Rubens was a good rider, and rode nearly every day, as, I doubt not, Van Dyck also. The horse has never, I think, been painted worthily again, since he died" (_Modern Painters_, vol. v. pt. ix. ch. vi. § 22).

The particular choice of subject in this sketch shows further in its literary connection a lover of the horse. The subject, as we know from the words _equi Achillis_ on a scroll in the left corner of the picture, is the horses of Achilles, said for their swiftness to be the sons of the wind Zephyrus: in the upper part of the picture is a sketch of a zephyr's head. "The gentleness of chivalry, properly so called, depends on the recognition of the order and awe of lower and loftier animal-life, ... taught most perfectly by Homer in the fable of the horses of Achilles. There is, perhaps, in all the _Iliad_ nothing more deep in significance--there is nothing in all literature more perfect in human tenderness, and honour for the mystery of inferior life, than the verses that describe the sorrow of the divine horses at the death of Patroclus, and the comfort given them by the greatest of the gods"[98] (_Fors Clavigera_, 1871, ix. 13).

157. A LANDSCAPE: SUNSET.

_Rubens_ (Flemish: 1577-1640). _See_ 38.

For Rubens's landscapes see under 66. "It is to be noted, however, that the licenses taken by Rubens in particular instances are as bold as his general statements are sincere.... In the Sunset of our own Gallery many of the shadows fall at right angles to the light" (_Modern Painters_, vol. i. pt. ii. sec. i. ch. vii. § 15).

158. BOORS REGALING.

_Teniers_ (Flemish: 1610-1694). _See_ 154.

159. THE DUTCH HOUSEWIFE.

_Nicolas Maes_ (Dutch: 1632-1693). _See_ 153.

"There are few pictures in the National Gallery," says C. R. Leslie (_Handbook for Young Painters_, p. 243), "before which I find myself more often standing than at this." Its great attraction, he adds, is "the delight of seeing a trait of childhood we have often observed and been amused with in nature, for the first time so felicitously given by art." The Dutch housewife sits intently engaged in scraping a parsnip, whilst the child stands by her side "watching the process, as children will stand and watch the most ordinary operations, with an intensity of interest, as if the very existence of the whole world depended on the exact manner in which that parsnip was scraped." Note the Flemish _kruik_, or beer-jug, so often introduced into the pictures of Maes. Signed and dated 1655.

160. A "RIPOSO."

_Mola_ (Eclectic-Bologna: 1612-1668). _See_ 69.

The Italians gave this title to the subject of the Holy Family resting on the way in their flight to Egypt,--"the angel of the Lord appeareth to Joseph in a dream, saying, Arise, and take the young child and his mother, and flee into Egypt."

161. AN ITALIAN LANDSCAPE.

_Gaspard Poussin_ (French: 1613-1675). _See_ 31.

Gaspard travelled largely in Italy in search of the picturesque, and this striking landscape may be a recollection of the mountain scenery in the North--possibly near Bergamo. The spray of foliage prominent on the left is characteristic of Gaspard's method:--

"One of the most remarkable characters of natural leafage is the constancy with which, while the leaves are arranged on the spray with exquisite regularity, that regularity is modified in their actual effect. For as in every group of leaves some are seen sideways, forming merely long lines, some foreshortened, some crossing each other, every one differently turned and placed from all the others, the forms of the leaves, though in themselves similar, give rise to a thousand strange and differing forms in the group.... Now go to Gaspard Poussin and take one of his sprays, where they come against the sky; you may count it all round: one, two, three, four, one bunch; five, six, seven, eight, two bunches; nine, ten, eleven, twelve, three bunches; with four leaves each; and such leaves! every one precisely the same as its neighbour, blunt and round at the end (where every forest leaf is sharp, except that of the fig-tree), tied together by the stalks, and so fastened on to the demoniacal claws above described (see under 68), one bunch to each claw" (_Modern Painters_, vol. i. pt. ii. sec. vi. ch. i. §§ 16, 17).

163. VENICE: A VIEW ON THE GRAND CANAL.

_Canaletto_ (Venetian: 1697-1768). _See_ 127.

The Church, that of S. Simeone Piccolo, was built in Canaletto's time. "One of the ugliest churches in Venice or elsewhere. Its black dome, like an unusual species of gasometer, is the admiration of modern Italian architects" (_Stones of Venice_, vol. iii. Venetian Index, _s. v._ Simeone).

165. THE PLAGUE AT ASHDOD.

_Nicolas Poussin_ (French: 1593-1665). _See_ 39.

The Philistines having overcome the Israelites removed the ark of the Lord to Ashdod, and placed it in the temple of their god Dagon. "And when they of Ashdod arose early on the morrow, behold, Dagon was fallen upon his face to the earth before the ark ..." (seen here in the temple to the right). "But the hand of the Lord was heavy upon them of Ashdod, and he smote them with a loathsome plague" (1 Samuel v. 4, 6).

The picture--a ghastly subject ghastlily treated--is yet a good instance of Poussin's learned treatment. Everywhere the intention to express alarm is obvious, and in the foreground are figures fleeing the infection, with nose and mouth muffled. Others are engaged removing the dead and dying, while in the centre are the dead bodies of a mother and child; another child approaches the mother's breast, but the father stoops down to avert it. A similar group to this occurs in a design by Raphael, "Il Morbetto," and was also in the celebrated picture by Aristides which Alexander the Great, at the sack of Thebes, claimed for himself and sent to his palace at Pella (Wornum: _Epochs of Painting_, p. 47, ed. 1864). This picture is a replica of one, now in the Louvre, which was painted in Rome in 1630--Poussin receiving only 60 scudi (about 12 guineas) for it.

166. A CAPUCHIN FRIAR.

_Rembrandt_ (Dutch: 1606-1669). _See_ 45.

Michel ascribes this portrait to the year of Rembrandt's tribulations. "At this period, when his emotions were so deeply stirred by the vision of a compassionate Saviour, he felt a kindred attraction for those mystic souls who sought in solitude and prayer a closer communion with the Christ to whom he felt himself drawn by his own sorrows. The 'Capuchin' in the National Gallery has suffered from time, but the devout gravity of the face is finely expressed" (_Rembrandt: his Life, his Work, and his Time_, ii. 126).

167. THE ADORATION OF THE MAGI.

_Peruzzi_ (Sienese: 1481-1537). _See_ 218.

This drawing--of the same composition as we see in the picture No. 218--was made at Bologna in 1521 for Count Giovanni Battista Bentivogli. The drawing was presented to the National Gallery by Lord Vernon, together with a print from the plate engraved from it by Agostino Carracci.

168. ST. CATHERINE OF ALEXANDRIA.

_Raphael_ (Urbino: 1483-1520). _See_ 1171.

This is a picture of Raphael's second period--"painted about the year 1507, to judge from its close resemblance in style to the celebrated picture of the Entombment in the Borghese (Rome), which is known to have been executed at that time." There are several studies for the picture in the University Galleries at Oxford, and another in the Chatsworth collection. The finished cartoon in black and white chalk, pricked for transfer to the panel, is exhibited in the Louvre.