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Maris. P. J. C. Gabriel, a clever landscape artist, and Th. de Bock, at one time a pupil of James Maris, have recently passed away. De Bock was a landscapist of ability, and the best of his work is strong and broad in treatment, and full of restrained colour. He often introduces into his pictures the birch trees so common in Holland. They evidently had a great fascination for him, especially when the sunlight struck the trunks of the trees, and made them shine a glowing white amid the prevailing green of the landscape. Though his early pictures are suggestive of his master, James Maris, and though he is sometimes slightly reminiscent of Corot, still de Bock developed a distinct and original vein of his own, and by the straightforwardness and sincerity of his work he has made a position for himself in the art annals of Holland.

In writing, however, about modern Dutch artists, we have only considered the seven great painters who came among the first in order of time, and by their originality and striking characters completely changed the ideas of art that were prevalent in their coun

try, and turned the artistic current into its present channels. They are the men of genius who brought about the revival of Dutch art, and whatever may be the opinions held by different people concerning this phase of art, there can be no doubt that these seven men are responsible for its existence, Bosboom, Israels, Mauve, Weissenbruch, and the three Marises. While we are perhaps too near the time of the production of the works of their successors to judge as to their value, we are farther removed from the founders of the school, and are in a somewhat better position to form an opinion of them and of the pictures they painted. In the following chapters an account is given of each of these seven artists, and an estimate of their work, and what it means. This does not pretend to any finality of judgment, but is only the expression of the opinions arrived at by one who is fond of their pictures and has derived a great deal of pleasure and enjoyment from the opportunities he has had of seeing and considering them.

CHAPTER VI

JOHANNES BOSBOOM

IN giving a short account of each of the 1817-1891. seven artists referred to in the last chapter,

we commence with the one who appeared earliest on the scene, and was the first to introduce the ideas of a living art among his countrymen. Quiet and uneventful was the life of Johannes Bosboom, but he was a man of strong individual character, and of striking originality. He had a very inspiring influence on the artists of his day, and was looked up to by the younger men and respected by all. Many of them benefited by his kindly and sensible advice at critical times, when they were in doubt as to the future and in despair about their art work. He married a lady of literary tastes, "his dear Truida," who proved a sympathetic and loving companion until her death a few years before his own. In his congenial home, surrounded by friends, his days passed happily.

But peaceful as his outer life was, his views in regard to art were revolutionary, and he inaugurated the movement that brought about the revival of art in Holland. His enthusiastic personality helped materially to introduce and to foster the new ideas. Dissatisfied with the dry formal painting of the schools, he longed for greater breadth and freedom. His work soon showed how far in advance of the times he was, and proclaimed him the first interpreter of the reviving spirit that, unknown as yet, was gradually permeating the art life of Holland.

He was little influenced by any modern school and his work was very original. He takes as his model, as far as he has one, his great predecessor Pieter de Hooghe. This painter's drawing is minute and masterly, his colour is splendid, and you feel he has described the effect upon himself of the scenes before him, in giving us those peaceful, happy idylls of home life. He usually shows the light coming into the room in rays of sunlight, that fall in sharply defined lines on wall, floor, and figures, and the rest of the picture is

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PLATE XXIII. Church at Oosthuisen. J. Bosboom.

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