latest and broadest of his descriptions of horsemen on the tow-path. In his last period he is altogether taken up with generalizing the effects of nature, trying to get its very essence, giving only the salient facts, and vaguely indicating the innumerable details that are there, yet may only be barely hinted at. He forgets all about the means and is intent only on the end; he is himself and he is in many ways at his greatest, notwithstanding a lack of definiteness and a daring freedom which some do not like. But indeed nearly all his work is splendid, though it may be that it belongs too near to the present day to enable us to see it in true proportion and to realize its greatness.

The fact that his character lends itself to an analysis of this kind shows how interesting the man and his career are, and as we study his pictures, which are all very original and vivid impressions of what he saw, and as we find their beauty revealing itself and growing on us, we know that we are in the presence of a master-mind; and even if the painter quality be often in evidence, so also are the

poetry and spirit of his nature clearly expressed. Every great artist must remain himself, and we are thankful to all the masters for what they tell us of the ideas and thoughts that guided the brush in transferring the fleeting scene to lasting canvas.

CHAPTER IX

ANTON MAUVE

It is a rare thing to find anyone who does 1838-1888. not like the pictures of Anton Mauve. They are general favourites, and are fortunate in finding a ready response from nearly everyone to the appeal they make for recognition. The lover of fine art turns to them with delight, for their tender and sympathetic rendering of nature and their great technical ability; but they also have a strong attraction by their natural appearance and poetic beauty which can hardly escape any person, for those who, knowing and caring little about artistic quality, yet like to have on their walls pleasant reminders of the scenes they are fond of in life out-of-doors. It is little wonder, then, that his works are hard to find, and that they have been gradually absorbed in the seventeen years that have passed since his death.

Mauve was born at Zaandam. His father was a Baptist minister, and although at an early

age he showed great taste for drawing, and was completely possessed by the idea of becoming an artist, it was with great difficulty that he got permission to follow his favourite pursuit. He first studied under Van Os, but derived little benefit from his teaching. It was a dry and formal art that was taught in his studio, and the young and ardent student was soon anxious to escape from it. The influence that affected him most, apart from his own personality, was Josef Israels. For him Mauve had a great affection, and they became firm friends. He was also very much attracted by William Maris, and he had a great admiration for J. F. Millet.

After leaving Van Os, it was necessary for Mauve to sell some pictures to gain a living. These were highly finished, carefully drawn, and brilliant in colour, but gave little promise for the future. But soon after this a more sensitive feeling for nature came to him, and he began to paint the scenes with which he was to become so identified, the green fields and country lanes, and the soft grey-green dunes, with the shepherds and their flocks going