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grown broader as the years have passed by; and the beauty, strength, and decision of his recent work are the result of the knowledge and skill to which he has attained, after years of earnest working in his favourite pursuit. He is to-day the first of living landscape artists who paint cattle, and it is safe to predict that he will stand in the future in the front rank of the animal painters of the world.



1824-1903. THE recent death of J. H. Weissenbruch,

which occurred early in 1903, has removed a well-known figure from the artistic world of Holland. His was one of those happy, cheerful natures that enjoy a simple life completely occupied with the art they love. Like Corot, he spread sunshine around him. He was bound up in his work, and was greatly loved by his fellow-artists, who looked up to him

with admiration. One of them, Mr. Smissaert, “Dutch

writes: “Among the older generation WeissenPainters bruch holds a prominent place; for who depicts of the Nineteenth as well as he the effect of the sun struggling F.A. E. L.

through stormy clouds, or who appreciates better the value of light and shade? Who remains so young and enthusiastic? Who, indeed, but Weissenbruch, whose pictures fill us with delight, and create an impression on our minds not easily forgotten. He sees nature through the medium of his temperament,




which is warm and sensitive — a temperament to which all that is great and noble appeals. His whole being is deeply affected by the beauty of natural scenery, and he is in perfect harmony with what he depicts. Wherever he paints, whether in oil or water colours, it is always the same as far as beauty is concerned, and no one will dispute the fact that he is a great artist.”.

Weissenbruch was born in 1824 and died in 1903. He had a strong and robust constitution and clear mental vision. He was a most entertaining companion, being a delightful talker, and having an inexhaustible fund of anecdote. As a young man he studied under Shelfhout and Van Hove. Here he learned to draw with accuracy and great detail, and we occasionally see examples now of this careful, painstaking work. After leaving his teachers, following the advice of Bosboom, he continued to work for many years in the same thorough manner, studying nature earnestly and leaving nothing undone that could add to his knowledge and experience. Later on he found himself, and left his early


came to




1« Essay on formal manner. Gradually his style changed,

and his brush work grew vigorous and broad. Emerson.

He discovered how much he could leave out, 2 «When a friend of in trying to give the essentials only, to secure mine, who painted as that simplicity and suggestiveness, the best well as any part of every work of art. The beginner sees man of his school in only detail, the artist sees the essence and the Paris of

suggests detail. Here it is that so many fail. that day,

They cannot see what are the essentials. Millet, to

Happy they who can, and are enabled to sub

ordinate everything else, leaving out the plishment at his feet “prose of nature and giving only the spirit

and splendour."1 direction, a 'It is well, A time comes to every artist, after he has said Jean François,

learned the technical side of his art and has ‘and you become what Ruskin calls a "respectable can paint. – But what artificer," when he must begin to give his have you to

to message and thoughts to the world through “Consider- the medium of his works. If he has nothing ations on Painting to tell,” he is not a living force, no matter how John La much admiration brilliant technique may draw. Farge.

“You have the Pyrrhic dance as yet;' Juan.”

Where is the Pyrrhic phalanx gone?” Canto III. Byron. are the words the great critic quotes for the

artist who depicted the luxurious idleness




PLATE XLI. – Autumn near the Hague. J. H. Weissenbruch.

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