. 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. Tempel, and four large group paintings byJan van Ravesteyn, who was the favourite painterin his time of the Town Council and of fashionablesociety of The Hague. There are also several por-traits by the two Vollevens, the last portrait paint-ers who worked in the beginning of the 18th cen-tury. Among the modern paintings we find the prin-cipal artists whom we have studied in Amsterdamrepresented by characteristic work.
. 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. Tempel, and four large group paintings byJan van Ravesteyn, who was the favourite painterin his time of the Town Council and of fashionablesociety of The Hague. There are also several por-traits by the two Vollevens, the last portrait paint-ers who worked in the beginning of the 18th cen-tury. Among the modern paintings we find the prin-cipal artists whom we have studied in Amsterdamrepresented by characteristic work. In no case dowe find their product here surpassing that whichwe have already seen of their brush. There are,however, a number of men, most of The Hagueaffiliation, whose pictures will be new to us. To1 begin with the earliest of these we find twocreditable portraits by Aart Schouman. City viewsof The Hague were painted by the three brothersLa Fargue, each in his own manner giving inter-esting vistas and corners of the city, as it was inthe 18th century. The portrait of a Dominee,of the Reformed Church in The Hague, is paintedby Albertus Frese; while T. Haag depicted the. Plate xlii(See page 292) Municipal MuseumAmsterdam Ube Ibaaue Galleries 329 two children of Prins Willem IV. A candle-lightpicture, such as were popular in those times, is fromthe brush of Cornelis van Cuylenburgh. A Por-trait, Flowers, and a Cattle piece were painted bydifferent members of the van Os family. AndreasSchelfhout is well represented with a half-dozenlandscapes, all in his severe, classic style. The Mauritshuis is pictured by Verheyen, with goodarchitectural effect; and other views of The Hagueare furnished by the elder van Hove; whose sonHubert gives us an interior view of a two Krusemans, Cornelis and Jan Adam, haveeach portraits — thoroughly in accord with thestilted style of their day. The two beach views by F. B. de Groot are for-tunately of his later period, after he had devel
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Keywords: ., book, bookcentury1900, booksubjectartmuseums, booksubjectpainting
