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Updated: June 13, 2025
He is a small vital organism which has direct dynamic rapport with the objects of the outer universe. He perceives from his breast and his abdomen, with deep-sunken realism, the elemental nature of the creature. So that to this day a Noah's Ark tree is more real than a Corot tree or a Constable tree: and a flat Noah's Ark cow has a deeper vital reality than even a Cuyp cow.
In our picture you can feel the great height of the sky and the depth of the air between the foreground and the horizon. The rendering of space is excellent. But Cuyp has not been content with the features of his native Holland. He has put an imaginary mountain in the distance and a great hill in the foreground. It is certainly not a view that Cuyp ever saw in Holland with his own eyes.
To some the flatness is most monotonous, but to those who find pleasure in the paintings of Cuyp, the country is very picturesque.
There are thus multitudes of pictures by Turner which are direct imitations of other masters; especially of Claude, Wilson, Loutherbourg, Gaspar Poussin, Vandevelde, Cuyp, and Rembrandt. It has been argued by Mr. Leslie that, because Turner thus in his early years imitated many of the old masters, therefore he must to the end of his life have considered them greater than himself.
A long interval elapsed between the Van Eycks and Quintin Matsys, and Rubens; but if Flemish art was slow of growth and was only developed after long pauses, it made up for its slowness and delays by the burst of triumph into which Flemish and Dutch art broke forth in Rubens and his school, in Rembrandt and Cuyp and Ruysdael.
Here among the startled jackdaws I lounged smoking and ruminating upon the bells, oily Cerberus, and his lonely task, and inhaling the misty air from the winding canals in the fertile green fields below appraising the values of the pale diaphanous sky of misty blue, harmonizing so exquisitely with the tender greens of the landscape which had charmed Cuyp and Memling, until the blue was suffused with molten gold, and over all the landscape spread a tender and lovely radiance, which in turn became changed to ruddy flames in the west, and then the radiance began to fade.
"One couldn't give up what one never had and never wanted.... And you say that it was all available yesterday?" "Available!" "At the order of Cardross, Carrick & Co.?" "Mr. Cuyp said so." "You made over all those checks to them?" "Yes. Mr. Cuyp took them away." "And that Lexington Avenue stuff?" "Deeded and recorded." "The bonds?" "Everything is father's again." "Was it yesterday?" "Yes. Why?"
Here the ancient and modern Dutch painters are seen at their best, and I know of no richer feast of this sort. Here Rembrandt is to be seen in his glory; here Van der Helst, Jan Steen, Gerard Douw, Teniers the younger, Hondekoeter, Weenix, Ostade, Cuyp, and other names as familiar. These men also painted what they saw, the people, the landscapes, with which they were familiar.
In front of the cathedral is the well, and the fine canopy of iron-work, by Quentin Matsys, the blacksmith of Antwerp, some of whose pictures we saw in the Museum, where one sees, also some of the finest pictures of the Dutch school, the "Crucifixion" of Rubens, the "Christ on the Cross" of Vandyke; paintings also by Teniers, Otto Vennius, Albert Cuyp, and others, and Rembrandt's portrait of his wife, a picture whose sweet strength and wealth of color draws one to it with almost a passion of admiration.
Raphael has made infantile grace obvious to unmaternal eyes; Turner opened to many a preoccupied vision the wonders of atmosphere; Constable guided our perception of the casual phenomena of wind; Landseer, that of the natural language of the brute creation; Lely, of the coiffure; Michel Angelo, of physical grandeur; Rolfe, of fish; Gerard Dow, of water; Cuyp, of meadows; Cooper, of cattle; Stanfield, of the sea; and so on through every department of pictorial art.
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