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Updated: May 31, 2025
Barbara, and infinite motherly love expressed in his Holy Virgin. Hugo van der Goes's portrait of Thomas Portunari is a marvel of characterisation. Terburg has a mandolin player and Hobbema a mill scene. The Van Orleys are interesting, and also the Van Veens. Gerard David, a painter of exquisite touch and feeling, shows a Repose in Egypt.
He had the repose and the firm, virile line of the classics, while his vision of actuality has never been surpassed. The Dutch Terburg, Vermeer, Van der Helst, Frans Hals saw as vividly the surfaces of things material; the last alone was the match of Velasquez in brushwork, but not Rembrandt recorded in his Anatomy Lesson the facts of the case as did Velasquez.
His touch is of great delicacy; his impasto admirable. GERARD TERBURG, born at Zwol 1608, died 1681, learned painting under his father, and when still young visited Germany and Italy, painting numerous portraits on a small scale, and occasionally the size of life.
The meek-looking "Belle Jardiniere" was as lamb-like as ever; the pearly nymph of Correggio invited the stranger's eye as frankly as of old; Titian's young man with the glove was the calm, self-contained gentleman I used to admire; the splashy Rubenses, the pallid Guidos, the sunlit Claudes, the shadowy Poussins, the moonlit Girardets, Gericault's terrible shipwreck of the Medusa, the exquisite home pictures of Gerard Douw and Terburg, all these and many more have always been on exhibition in my ideal gallery, and I only mention them as the first that happen to suggest themselves.
To the military student a mere cavalry affair, fought out upon an obscure Brabantine heath between a party of Dutch carabineers and Spanish pikemen, may seem of little account a subject fitted by picturesque costume and animated action for the pencil of a Wouvermanns or a Terburg, but conveying little instruction.
Who shall rival the splendours, the profusion of Veronese, the opulence of Tintoretto, the richness of Titian, the pomp of Rubens? Or who shall challenge the technical beauty of Velasquez or of Hals, or the technical dexterity of Terburg, or Metzu, or Dow, or Adrian van Ostade? Passing on once again, we notice that art appears and disappears mysteriously like a ghost.
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.
Are the individual temperaments of Terburg, Metzu, and Peter de Hoogh very strikingly exhibited in their pictures?
An interesting feature in art at this time was the intimate association of men and women artists and the distinction of women thus associated. Gerard Terburg, whose pictures now have an enormous value, had two sisters, Maria and Gezina, whose genre pictures were not unworthy of comparison with the works of their famous brother.
Certain it is that six years later, in 1648, when the independence of Holland was formally recognized at the Congress of Westphalia, though Terburg and Van der Heist celebrated the event on canvas, Rembrandt's services were not secured. Good friends were left to him men of intelligence who appreciated his strong individuality and the great originality of his work.
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