. The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries. e Bakhuyzen (born1835), has given us fine wooded interiors that arereminiscent of Ruisdael. He was a nature painterwith romantic tendencies. Jacobus van Gorkom (1827-1880) painted land-scapes, sometimes with meandering streams, andJ. E. van Heemskerck van Beest (1828-1894)turned to the turbulent ocean for inspiration. Hisstorm views are as impressive as those of JulesDupre. Still belonging to this section of the Dutch
. The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries. e Bakhuyzen (born1835), has given us fine wooded interiors that arereminiscent of Ruisdael. He was a nature painterwith romantic tendencies. Jacobus van Gorkom (1827-1880) painted land-scapes, sometimes with meandering streams, andJ. E. van Heemskerck van Beest (1828-1894)turned to the turbulent ocean for inspiration. Hisstorm views are as impressive as those of JulesDupre. Still belonging to this section of the Dutch ar-tists of the 19th century are two men whose sub-jects are thoroughly indigenous to Holland, one acattle painter, the other one painting possess, however, in their technic, in no wisethe characteristics of the modern school. Hendrik Valkenburg (1826-1896) gives clearand brightly coloured views of the neat interiors ofDutch peasant houses. He loved to depict the cru-cial moment when the farmer boy is asking moth-ers consent, while his sweetheart is quizzicallylooking on. These are attractive compositions, butthey lack the higher qualities of art. They are. Plate xxn(See page 223) Ryks MuseumAmsterdam Ube fHf Century H>utcb painters 169 chromo-like and by their sugary-sweetness weari-some. In his later years he had friendship withMauve, from whom he learned much to his ownimprovement. Pieter Stortenbeker (1828-1898) was an emi-nent cattle painter in his day. His knowledge ofthe anatomy of his models is unsurpassed, but helacks the atmospheric quality for which we shouldlook. He is hard and flat in his colouring andbelongs truly to that style of which Verboeckhovenwas the eminent exponent. But the men were being born who were to recallthe glories of the golden age. Not by imitatingwhat the old masters had done, but by heeding thelessons these had taught, and applying these lessonsto their subjects as their modern eyes saw used Rembrandts light, but in
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