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Updated: June 16, 2025
On my brother's first visit to London, accompanied by my father, he visited many collections where the old Dutch masters were to be seen, and he doubtless derived much advantage from his careful studies, more particularly from the works of Hobbema, Ruysdael, and Wynants. These came home to him as representations of Nature as she is.
In 1668 he was in Amsterdam, and acted as witness to the marriage of Hobbema, whose lack of worldly prosperity Ruysdael shared. He himself was unmarried, and maintained his father in his old age.
Fra Bartolommeo was represented by a Holy Family, which many connoisseurs might have taken for a Raphael. The Hobbema would have fetched sixty thousand francs at a public sale; and as for the Durer, it was equal to the famous Holzschuer portrait at Nuremberg for which the kings of Bavaria, Holland, and Prussia have vainly offered two hundred thousand francs again and again.
You can work out for yourself from a picture, by induction and comparison, its subject, its school, and its author, unless it proclaims, in every stroke of the brush, "I am a Hobbema," "a Perugino," or "a Giotto." I was somewhat distracted, however, by the voice of the old numismatist, as he peered into the cases, and constrained his daughter to share in the exuberance of his learned enthusiasm.
From a fact which I have already mentioned, that so many Flemish and Dutch pictures, which we may often come across, are in England, I am sorry that my space will not suffer me to give a few special words to other famous painters of these schools or school, for they merge into one, to Snyders, Jan Steen, Gerard Dow, Ruysdael, Hobbema, Van de Velde, etc., etc.
A Hobbema or a Poussin would scarcely have pleased them as much, for the worst of an old Master is that your friends look suspiciously upon it as a copy; whereas Wilson is scarcely old enough or precious enough to be copied.
His father, Alexander Nasmyth of Edinburgh, was a landscape-painter of great eminence, whose works are sometimes confounded with those of his son Patrick, called the English Hobbema, though his own merits are peculiar and distinctive. The elder Nasmyth was also an admirable portrait painter, as his head of Burns the best ever painted of the poet bears ample witness.
The excess had been great a reaction was inevitable and Rembrandt, with his Biblical legends, furnished the necessary transition. But when a taste for painting had been reacquired, one after the other the Dutch painters became the fashion. It is almost unnecessary to point out the influence of Hobbema on the art of Rousseau.
M. Trimolet has etched in a Dutch manner a landscape of Hobbema in the Louvre, but M. Gaucherel translates a Ruysdael from the Demidoff collection into an exquisite delicacy and airiness of line which is the language of etching in its most modern expression.
It will be difficult " "I must have it at any price," says the Nabob, hooked by the name of Mora. "You understand, Schwalbach. I must have this Hobbema. Twenty thousand francs for you if you secure it." "I shall do my utmost, M. Jansoulet."
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