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perspective, but the light pervading the whole building, and softening everything. And Israels has the same aim constantly in view. Whatever the subject of interest in his pictures may be, it is the mystery of the lighting of his cottage interiors that is ever before him. With Weissenbruch it is always the light in the skies that attracts him, as it illuminates the clouds, or shines down on the quiet sea, or strikes the white-edged waves as they are lifted into the air and driven before the gale.

They are all impressionists in the true sense of the word, giving the impressions made upon them by the scenes they paint. They do not attempt to tell any stories in their pictures. Their subjects are the simplest and of common occurrence, belonging to the ordinary life about them. Even the cottage interiors with their inmates have nothing of the anecdotal quality in them. Whether they paint out-door or in-door life, their pictures are just the records of what the artists saw as they watched the peasants engaged at work in their every-day pursuits, and as they shared in their happiness

or sorrow.

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In addition to their works in oil, these artists discovered a new method of painting in watercolours. They revived this branch of art by the beautiful and rich effects they produced through the novel treatment of their materials. The paper is allowed to get saturated with colours, and it requires great knowledge of the process and skill in handling to use this method to advantage. The aim is to give more of the depth and colour of oil painting, without losing the softness and richness of watercolours, and the use of body colour is allowed where necessary. The result has been a new manner of painting, and all these artists have been very successful in its use, and have produced brilliant pictures, which have much of the strength of oil painting, yet preserve the charm and the delicacy of the slighter medium, and have a peculiar quality and beauty of their

own.

Thus these painters of Holland have been always seriously and earnestly at work, yet very happy in the enjoyment of life as it passed on the difficult but inspiring road they chose for their journey; wandering each one into his own special

and favourite by-path, as the spirit of art led him, but all advancing to the same goal, the heart of nature, and its deeper and hidden meaning. Though this object of constant pursuit is elusive and is always escaping just as the prize seems won, though the end is never fully attained, perhaps is never attainable, the true artist still strives on, and the greater the man, and the stronger and farther his sight, the more is he able to penetrate into the mystery that curtains us around.

There is a vigorous School of Art in Holland to-day, and the painters there are following in the footsteps of the men we have been speaking of. This includes such able artists as Albert Neuhuys, who with great facility in execution, and a fine sense of colour, comes next to Josef Israels as a figure painter, B. J. Blommers, P.ter Meulen, W. Steelinck, H. J. Van de Weele, H. W. Mesdag, the wellknown marine artist, J. Kever, W. B. Tholen, Tony Offermans, Jan Van Essen, J. H. Van Mastenbrock, J. Scherrewitz, J. H. Jurres, Simon Maris, the son of William Maris, and the younger William Maris, the son of James

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