File:The art of 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 (1908) (14750941296).jpg

Identifier: artofnetherlandg00prey (find matches)
Title: The art of 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
Year: 1908 (1900s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : L.C. Page & Co.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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-sanna; of the Mauritshuis, but this work is much 344 ^bc Hrt of tbe TFletberlant) ©alleties the finer of the two. According to Vosmaer itwas painted in 1643, ^he year after the NightWatch, and its chiaroscuro^ with the nude figurestanding in exquisite rehef against the background,is of supreme mastery. This figure is of surpass-ing beauty, and the ideaHzation in slender grace ofall the Susannas the master ever portrayed. Theharmony of tints, violet, brown, green, yellow-ochre, in a general golden atmosphere, give it awarm poetic, mysterious tone with glittering glaze.It is a splendid work of the great master. One room of the patrician mansion in which thiscollection is housed is devoted to modern masters,among whom we may note a Gerome, Scene inthe Desert; a Horace Vernet^ The Last Car-tridge; one of Bouguereau, Girl Knitting;and a Meissonier, Soldiers playing Cards.There are also pictures by David Bles^ By theCradle; by Schelfhout, Winter Scene; anda Forest View, by B. C. Koekkoek.
Text Appearing After Image:
w ^ /—\ Q O u too « w ■?i- 1—1 03 K «!U H ^^ ^^ H < CHAPTER XIII THE HAARLEM GALLERIES The Municipal Museum Some three hundred paintings by the 17th cen-tury masters, and a hundred old portraits by un-known painters, form the important collection ofthis Museum, of which Frans Hals is the brightstar. Eight large militia and regents pieces, and twosingle portraits are from the brush of the greatHaarlem master. The single portraits are life-size knee-pieces of Nicolaes van der Meer, Burgo-master of Haarlem, and of his wife. The Burgo-master is standing with his hand on the back ofan arm-chair. His expression of dignified self-consciousness, the keen eye, the sculpturesque head,make this a vital presentment. The thoroughlyartistic effort of the rich, but delicate colouring,in which a light-gray tone prevails, is carried tothe nick of perfection, and no farther. The por-trait of his wife is of equal significance. She is 345 346 XTbe art of tbe 1netber

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