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Among the best of its companions are a very good Terburg, a very good Metsu, and an extremely beautiful Ruysdael.
This is exactly what we feel with Van Mieris and, though in a less degree, with Gerard Dow; whereas with Jean Van Eyck and Metsu, no matter how far they may have gone, we find them essentially as impressionist as Rembrandt or Velasquez.
Room XXI., Cuyp, after whom the room is named, is seen in four typical works, 2341-2344; 2415 and 2414 are excellent Dutch Interiors by Peter de Hoogh. In Room XXII. reigns the jovial Van Steen: two characteristic paintings are here shown; 2578, Feast in an Inn, and 2580, Evil Company. 2587 is a masterly Terburg, The Amorous Soldier, and 2459 a similar subject treated by Gabriel Metsu.
It is like classing Walter Pater with art critics. But as Vermeer had to express himself in some form, it is perhaps fortunate that the school had developed this kind of poetic portraiture, under Terburg, Metsu and others, to a point where a genius like Vermeer could use it as the vehicle of his fascinating self-revelations.
She might have come out of a Dutch picture a Terburg or a Metsu so exquisite was she in every detail her small, white head, her regular features, the lace coif tied under her chin, the ruffles at her wrist, the black brocade gown, which never altered in its fashion and which she herself cut out, year after year, for her maid to make, the chatelaine of old Normandy silver, given her by her brother years before, which hung at her waist.
For the fourth of them he had exchanged with his mother a marvellously vivid Metsu, lately bequeathed to him, in which she herself was presented. They were the sole ornaments he permitted himself. It was here that Sebastian could yield himself, with the only sort of love he had ever felt, to the supremacy of his difficult thoughts. A kind of EMPTY place!
It was painted in 1643, about a year after he had finished The Night Watch, a jewel of a Rembrandt and the clou of this collection. There are some weak modern pictures and examples by Terburg, Metsu, Flinck, Jordaens, Cuyp, Potter, Brouwer the smoker, a fine work; a Hobbema mill and others.
The various schools of the old masters were represented by a Raphael Madonna, a Virgin by Leonardo da Vinci, a nymph by Correggio, a woman by Titian, an adoration of the Magi by Veronese, an assumption of the Virgin by Murillo, a Holbein portrait, a monk by Velazquez, a martyr by Ribera, a village fair by Rubens, two Flemish landscapes by Teniers, three little genre paintings by Gerard Dow, Metsu, and Paul Potter, two canvases by Gericault and Prud'hon, plus seascapes by Backhuysen and Vernet.
This life is painted in every class of society and under every circumstance; evening-parties, dances, orgies, games, holidays, all are represented, and thus Ter Borch, Metsu, Netscher, Dou, Mieris, Steen, Brouwer, and Ostade became famous. From home-life they turned to the country.
To Terburg, Pieter de Hooch, Nicolas Maes, Metsu they were credited. Even the glorious Letter Reader of the Dresden gallery has been attributed to De Hooch, and by no less an authority than Charles Blanc. Fromentin, of all men, does not mention his name in his always admirable book on the art of the Low Countries; no doubt one cause for his neglect.
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