. The art of 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 . realism. Of Gericault we find onlya few snappy studies of horses; and of Decampsa Napoleon at St. Helena, a Poacher, and* Watchdogs — only this last with his well-known tour-de-force of reflecting light on white-plastered walls. Of Couture, who did not producemuch work after his first great success with TheRomans of the Decadence, we find a study headof a boy, and a small painting of a lady in a whitecostume
. The art of 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 . realism. Of Gericault we find onlya few snappy studies of horses; and of Decampsa Napoleon at St. Helena, a Poacher, and* Watchdogs — only this last with his well-known tour-de-force of reflecting light on white-plastered walls. Of Couture, who did not producemuch work after his first great success with TheRomans of the Decadence, we find a study headof a boy, and a small painting of a lady in a whitecostume, holding a mask. This is a beautiful, anexquisitely refined work. Michels four landscapes plainly show the influ-ence the old Dutch masters exerted over thisFrenchman; while the Harvest, by Jules Bre-ton, is a thoroughly modern French is shown in his three characteristic sub-jects, of poultry, a landscape with sheep, and apigsty; but of van Marcke^ of whom we wouldexpect a cattle piece, we find a view of a smalltown on the French coast, with fishing boats, se-lected for its unusual subject and its artistic appeal. The still lives of Antoine Vollon are of the best. XTbe Ibague ©alleries 337 this artist has produced, in mellow tone, and dex-terous touch. Boulanger, the Belgian, has a wood-interior, full of feeling for the beauty of nature,in which wood-cutters are sawing big beeches andbirches. His compatriot, Verwee, has also threelandscapes of great merit. The well-known headsby Mettling gaze at us from three little panels. OfDaumier we find one of his rare oil paintings, onwhich two women, surrounded by children, areexchanging neighbourly confidences; and Herviershows one of his landscapes, which might be calleda poetic Rousseau. The genuine Dutch landscapes,by the Frenchman Stengelin, are in complete ac-cord with the best Weissenbruchs, or even withJacob Maris. To complete the foreigners before we turn to thenative school we must yet note three fine worksby
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