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Updated: May 31, 2025
The furniture was such as beseemed a well-to-do artisan walnut-wood chairs with straw seats, a small walnut-wood dining table, a work table, some colored prints in black wooden frames, short muslin curtains to the windows, the floor well polished and shining with cleanliness, not a speck of dust anywhere, but all cold and dingy, like a picture by Terburg in every particular, even to the gray tone given by a wall paper once blue and now faded to gray.
Among the best of its companions are a very good Terburg, a very good Metsu, and an extremely beautiful Ruysdael.
But his style of painting was not one to attract Meissonier, who was ambitious to paint like the old Dutch artists, Terburg, Metzu, Mieris, and others, who have the charm that their pictures are finished with the most exquisite minuteness, and yet treated in such a large way that, after awhile, we forget the microscopic wonder of the performance and think only of the skill the artist has shown in painting character.
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.
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.
To sit on the golden throne and represent the Zeus-like monarch, Luciana had picked out the finest and handsomest man of the party, so that this picture was really of inimitable perfection. For a third they had taken the so-called "Father's Admonition" of Terburg, and who does not know Wille's admirable engraving of this picture?
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.
Terburg is simple as a page of seventeenth-century prose; and in Keene there is the same deep, rich, classic simplicity. The material is different, but the feeling is the same. I might, of course, say Jan Steen; and is it not certain that both Terburg and Steen, working under the same conditions, would not have produced drawings very like Keene's?
For them he was either practically unknown or else an imitator of Terburg, De Hooch, or Mieris, he whose work is never tight, hard, or slippery. The following list of thirty-four admittedly genuine Vermeers may clear up the mystery of the 1696 sale at Amsterdam. Remember that the authenticity of these works is no longer contested.
A pianoforte had been fitted into the room, and here and there on the paneled walls, covered with red silk, hung small pictures by great painters a Sunset by Hippolyte Schinner beside a Terburg, one of Raphael's Madonnas scarcely yielded in charm to a sketch by Gericault, while a Gerard Dow eclipsed the painters of the Empire. On a lacquered table stood a golden plate full of delicious fruit.
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