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After that glorious trinity, Rembrandt, Frans Hals, and Vermeer, hanging in the Rijks, what a piquant contrast to study the new-fangled heresies and fantastic high-kicking of the Futurists!
FRANS SNYDERS was born at Antwerp in the year 1587, ten years later, that is to say, than Rubens. He received his first instruction in the art of painting from Henry van Balen. His genius at first displayed itself only in painting fruit. He afterwards attempted animals, in which kind of study he succeeded so well that he surpassed all that had ever excelled before him.
But Frans is not like Great Brittin; a man in a livry coat, with 1 arm, is pretty easily known, and caught, too, as I can tell you. Such was the case with master. He coodn leave Paris, moarover, if he would. What was to become, in that case, of his bride his unchbacked hairis? She had nine thousand a yer. She'd been in love a duzn times befor, and mite be agin.
Perhaps one should know him in his overalled, stubble-bearded days, with the rich black loam of the Mississippi bottomlands clinging to his boots. At twenty-five, given a tasseled cap, doublet and hose, and a long, slim pipe, Ben Westerveld would have been the prototype of one of those rollicking, lusty young mynheers that laugh out at you from a Frans Hals canvas.
Though it is impossible to divide the two groups of artists among the two political and religious tendencies in conflict, the works of Breughel and Jordaens may be considered as a necessary counterpart to those of Frans Floris and Rubens if we wish to form a complete idea of the civilization of the period.
When the news came that the enemy had broken through our lines at Donkerhoek, and that we had to retreat, my brother and I left Grobler's commando. Thinking that the commandos would fall back upon the positions of Belfast, we went to Middelburg to an uncle of ours, the missionary Jan Maré, in order to give our horses a rest. We had lost sight of our comrade Frans.
That the gay and frivolous art of Boucher and Fragonard should have suddenly ceased might have been considered inevitable; but whereas in Holland, when the Spanish yoke had been thrown off, and a Republic proclaimed, a vigorous democratic school arose under Frans Hals; and in England during the Commonwealth the artistic influence which was beginning to be spread by Charles I. and Buckingham utterly ceased; in France an artistic Dictator arose, as we may well call him, in the person of JACQUES LOUIS DAVID, who not only made painting a part of the revolutionary propaganda, but succeeded under the Emperor Napoleon also in maintaining his position as painter to the Government, and thereby imposing on his country a style of art which had a great influence on the whole course of French painting for many years to come.
At a certain moment, when the Germans were obliged to retire, we succeeded in escaping down side streets." The priest led the way to the cot of a peasant whose cheeks had the spot of fever. He was Frans Meulebroeck, of No. 62, Drie Sleutelstraat, Alost. Sometimes in loud bursts of terror, and then falling back into a monotone, he talked with us.
The two first personages are Frans Banning-Cock, Lord of Furmerland and Ilpendam, captain of the company, and his lieutenant, Willem van Ruijtenberg, Lord of Vlaardingen, the two marching side by side.
Where another man's art is personal, as with Velasquez or Frans Hals, Whistler's art becomes egotistical. He does not say, "Lo, how mysterious is this dusk river-side, how tenderly serene this mother, how wistful and mighty is this prophet-seer!" Rejoice with me in my powers of vision and of execution." There is no single method of seeing, no one formula of expression and handling.
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