. 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. lection to the Ryksmuseum. Both of thesepaintings bear the indubitable impress of thebreadth and amplitude of Rembrandts figure paint-ing. Vermeers life was uneventful. With the ex-ception of a few years in Amsterdam, it was passedentirely in his native city Delft, whence the words van Delft are affixed to his name, in order todistinguish him from others of the same name —Jan Vermeer, or van der Meer, van Utrecht (1630
. 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. lection to the Ryksmuseum. Both of thesepaintings bear the indubitable impress of thebreadth and amplitude of Rembrandts figure paint-ing. Vermeers life was uneventful. With the ex-ception of a few years in Amsterdam, it was passedentirely in his native city Delft, whence the words van Delft are affixed to his name, in order todistinguish him from others of the same name —Jan Vermeer, or van der Meer, van Utrecht (1630-1688), and from the Vermeer, or van der Meer,van Haarlem (1656-1705). He must have beenvery poor indeed when he entered the Guild of in Delft, and had to pay his entrance fee ofsix guilders in instalments, which it took him threeyears to complete. That his art became soon pro-ductive, however, may be seen from his self-por-trait in the Czernin Gallery of Vienna (formerlyascribed to de Hooch, until rightly attributed byBurger), which shows him richly attired and atwork in a room of no mean appointments. In themidst of his prosperity he died at the age of forty-. ttbe (Benre painters 105 three, leaving his wife and eight children well pro-vided for. No three artists could be more strongly indi-vidual than Maes, Vermeer, and de Hooch. Theylearned from Rembrandt the subtleties and mys-teries of graduated light, but developed this witha keenness of perception all their own, even withgreater refinement than their master ever Vermeer is original in the manner in whichhe bathes his interiors in a diffused silvery light,as de Hooch more favoured the golden sunlight ingraded planes — both were eminently light-paint-ers. Sometimes Vermeer takes us outdoors, andthen his light is a part of the atmosphere, as wemay see in his View of Delft in the Maurits-huis, and in his street scene in the Six generally we find an interior the subject ofthe few works t
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