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Bold Composure Sectory 11

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Bold Composure Sectory 11

The old Venetian realism was followed, in the time of the Renaissance, by startling developments. In the works of Tintoretto and Veronese there is a combination of gorgeous draperies, splendid and often licentious costumes, brilliant metal accessories, and every possible device for enhancing and contrasting colors, until one is bewildered and must adjust himself to these dazzling spectacles--religious subjects though they may be--before any serious thought or judgment can be brought to bear upon their artistic merit; these two great contemporaries lived and worked in the final decades of the sixteenth century.

The brothers Maris have made a distinct impression on modern Dutch art, and, strange enough, each in a different way from the others. James Maris (1837-) studied at Paris, and is remarkable for fine, vigorous views of canals, towns, and landscapes. He is broad in handling, rather bleak in coloring, and excels in fine luminous skies and voyaging clouds. Matthew Maris (1835-), Parisian trained like his brother, lives in London, where little is seen of his work. He paints for himself and his friends, and is rather melancholy and mystical in his art. He is a recorder of visions and dreams rather than the substantial things of the earth, but always with richness of color and a fine decorative feeling. Willem Maris (1839-), sometimes called the "Silvery Maris," is a portrayer of cattle and landscape in warm sunlight and haze with a charm of color and tone often suggestive of Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a fine painter of marines and sea-shores, and Mauve (1838-1888), a cattle and sheep painter, with nice sentiment and tonality, whose renown is just now somewhat disproportionate to his artistic ability. In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner, Witsen, Haverman, Weissenbruch.



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