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"Dear me, who was it that painted that, Jasper? I never can remember the artists' names." "Metsu was it Jan no, Gabriel Metsu," answered Jasper, wrinkling his brows. "Neither can I remember all those fellows' names. Yes, indeed, you'll find Phronsie won't let us go there without paying respects to her special picture." "And then I suppose Grandpapa will take us for a last drive in Vondel Park.
The several schools of the old masters were represented by a Madonna of Raphael, a Virgin of Leonardo da Vinci, a nymph of Corregio, a woman of Titan, an Adoration of Veronese, an Assumption of Murillo, a portrait of Holbein, a monk of Velasquez, a martyr of Ribera, a fair of Rubens, two Flemish landscapes of Teniers, three little "genre" pictures of Gerard Dow, Metsu, and Paul Potter, two specimens of Gericault and Prudhon, and some sea-pieces of Backhuysen and Vernet.
He together with Metsu and Terburg, two artists eminent for finish and coloring, belonged to that group of painters of home-life who chose their subjects from the higher classes of society. One of these canvases portrays the artist with his wife. Among other paintings, Steen is represented by his favorite subject, a doctor feeling the pulse of a lovesick girl in the presence of her duenna.
Rembrandt, Gerard Dow & his pupils Mieris and Metsu please me more than any other artists. In the whole Collection they have but one of Salvator's, but that one, I think, is preferable to all Raphael's. I have not yet seen statues enough to be judge of their beauties. The Apollo of Belvidere & the celebrated Laocoon lose, therefore, much of their Excellence when seen by me.
However careful in execution were such painters as Terburg, Metsu, and Netscher, yet Gerard Dou and his scholars and imitators surpassed them in the development of that technical finish with which they rendered the smallest detail with meticulous exactitude. GERARD DOU was born at Leyden on the 7th April 1613, died there 1680.
This is the difference between Gerard Dow and Metsu. Gerard Dow gives all he can, but unreflectingly; hence it does not reflect the subject effectively into the spectator. We see it, but it does not come home to us. Metsu on the other hand omits all he can, but omits intelligently, and his reflection excites responsive enthusiasm in ourselves.
A visitor in the Salon Carré of the Louvre notes that there are arrayed before him pictures by Jan van Eyck and Memling, Raphael and Leonardo, Giorgione and Titian, Rembrandt and Metsu, Rubens and Van Dyck, Fouquet and Poussin, Velasquez and Murillo. Each one bears the distinctive impress of its creator.
Some of the most famous painters Francis Hals, Jordaens, Rembrandt, Metsu, Van Mieris all belong to this time, and in some of the fine interiors represented by these Old Masters, in which embroidered curtains and rich coverings relieve the sombre colors of the dark carved oak furniture, there is a richness of effect which the artist could scarcely have imagined, but which he must have observed in the houses of the rich burghers of prosperous Flanders.
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