File:Johannes Bosboom - Church at Oosthuisen.jpg

Identifier: landscapefigurepai00sher (find matches)
Title: Landscape and figure painters of America
Year: 1917 (1910s)
Authors: Sherman, Frederic Fairchild, 1874-1940
Subjects: Landscape painting Figure painting
Publisher: New York : Privately printed
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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evolutionary, and heinaugurated the movement that brought aboutthe revival of art in Holland. His enthusias-tic personality helped materially to introduceand to foster the new ideas. Dissatisfied withthe dry formal painting of the schools, helonged for greater breadth and freedom. Hiswork soon showed how far in advance of thetimes he was, and proclaimed him the firstinterpreter of the reviving spirit that, unknownas yet, was gradually permeating the art lifeof Holland. He was little influenced by any modernschool and his work was very original. Hetakes as his model, as far as he has one, hisgreat predecessor Pieter de Hooghe. Thispainters drawing is minute and masterly,his colour is splendid, and you feel he has de-scribed the effect upon himself of the scenesbefore him, in giving us those peaceful, happyidylls of home life. He usually shows thelight coming into the room in rays of sun-light, that fall in sharply defined lines on wall,floor, and figures, and the rest of the picture is
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JOHANNES BOSBOOM 129 in shadow. This in less able hands wouldtend to become a mannerism, but beautifulin every way are the works of this great artist. Very different is the aim of Bosboom. Hegives us interiors of churches and other build-ings without any hard lines and filled withdiffused light and air. All the shadows inthem are full of light in deeper tones, and themore brilliant parts, that receive the directrays of the sun, sparkle with a brilliancy thatrivals the older master. In colour he is equallyfine, though the general tone is lower, andthere is a greater feeling of simplicity in thetechnical handling. This feeling of apparentsimplicity permeates a great deal of the workof the whole school. Bosboom modifies the strict rules of ordi-nary perspective to get the higher truth ofaerial perspective, and we must not look tohim for correct drawing as generally under-stood, as that is not at all what he is aimingat, though curiously enough to some people hispictures appear too archit

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