. International Studio an Illustrated Magazine of Fine and Applied Art. in XXXIV. No. 135.—May, 1908. analogous to that of Michel in relation to thepainters of Barbizon. Willem Roelofs was born at Amsterdam in 1822,that is to say, two years before the birth of JosefIsraels, and about half a generation before thecoming of Mauve, the brothers Maris and theolder Dutch painters of to-day. Officially he iswritten as the pupil of Sande Bakhuyzen and DeWinter, but it would be difficult to find a trace oftheir influence in his art. For Ruysdael he hada profound admiration, yet it would not be in-accur
. International Studio an Illustrated Magazine of Fine and Applied Art. in XXXIV. No. 135.—May, 1908. analogous to that of Michel in relation to thepainters of Barbizon. Willem Roelofs was born at Amsterdam in 1822,that is to say, two years before the birth of JosefIsraels, and about half a generation before thecoming of Mauve, the brothers Maris and theolder Dutch painters of to-day. Officially he iswritten as the pupil of Sande Bakhuyzen and DeWinter, but it would be difficult to find a trace oftheir influence in his art. For Ruysdael he hada profound admiration, yet it would not be in-accurate to say that, while reverencing the work ofthe great masters of Holland, Roelofs found hischief incentive and material for emulation in thework of his contemporary French painters. Whenquite a young man in the forties, Roelofs usedto stay at Pere Gannes at Barbizon, and it wasthe painters with whom he there associated whohad the deepest and most lasting effect on hiscareer. In these days when we speak loosely of theRomanticists or the Barbizon School as a class,. HIS STUDIO FROM A PHOTOGRAPH IVilleni Roelofs we are apt tD forget the very different aims andmethods of individual members of that particularly now that Corot, perhaps justly,overshadows his comrades, it is difficult to realisethat there was a time—say fifty or sixty years ago—when Troyon, Diaz, or Rousseau was a mightiername to conjure with. Even among art-students,apart from the general public, one master gainsmore immediate recognition than another. Nowalthough Roelofs was possessed of far too sturdy apersonality to become the echo of another man, itis not unjust and it is certainly helpful to theunderstanding of his art to realise that Rousseau,rather than Corot or Millet, was his spiritual since Rousseau was the most severe naturalistof the band, what Roelofs chiefly learnt fromRousseau was to study Nature for himself, tostudy her with patience, with passion, and withscience. Relative
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