. 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. o later became renowned. B. J. van Hove(1790-1880) produced some good city views, andhis son, Hubertus van Hove (1814-1865), son of Hubertus, Bart van Hove (born 1850),is to-day Hollands leading sculptor. Two of theKrusemans have also been eminent teachers. Cor-nelis Kruseman (1797-1857) and his son, Jan (1804-1862), were both portrait paint-ers. Cornells has also given examples of historicalge
. 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. o later became renowned. B. J. van Hove(1790-1880) produced some good city views, andhis son, Hubertus van Hove (1814-1865), son of Hubertus, Bart van Hove (born 1850),is to-day Hollands leading sculptor. Two of theKrusemans have also been eminent teachers. Cor-nelis Kruseman (1797-1857) and his son, Jan (1804-1862), were both portrait paint-ers. Cornells has also given examples of historicalgenre, where he was particularly successful in hisfemale figures. Jan Adam went to Paris and wasbefriended by David. Frans B. de Groot (1796-1875), owing to his development late in life, paintedhis marines more in the style of the Romanticists. An artist who belongs to the Dutch school asmuch as Whistler or Sargent belongs to the Amer-ican — that is, not at all — was Ary Scheffer(1795-1858). He was born in Holland, but wastaken by his mother, very early in life, to Paris,where he lived and died. His art was French —academic to the core. At first painting small genre,. XTbe fIff Century H)utcb painters 161 he became later more ambitious, executing largefigure pieces, in which he showed a strong leaningtowards the pathetic and emotional vein. A jour-ney through Holland in middle age, where he stud-ied Rembrandt and the masters, had a great influ-ence upon him, but he never could shake off Davidsthrall. Scheffers taste was refined and elevated,his drawing correct, but he lacked the geniuswhereby David infused the fire of life into an artwhich in his followers is merely coldly rhetorical. With the dawn of the 19th century came the eraof noble discontent, the dawn of revolt. And re-volt always stirs, awakens, calls forth action. Inart it was the reaction against the too sculpturaltendencies of the academicians, in whose hands arthad become a thing of metes and bounds and meas-ur
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