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Cornugaya Directory 06
Page 04
This school probably got its sentimental
inclination, shown in slight forms and tender expression, from France,
but derived much of its technic from the Netherlands. Stephen Lochner,
or Meister Stephen, (fl. 1450) leaned toward the Flemish methods, and
in his celebrated picture, the Madonna of the Rose Garden, in the
Cologne Museum, there is an indication of this; but there is also an
individuality showing the growth of German independence in painting.
The figures of his Dombild have little manliness or power, but
considerable grace, pathos, and religious feeling. They are not
abstract types but the spiritualized people of the country in native
costumes, with much gold, jewelry, and armor. Gold was used instead of
a landscape background, and the foreground was spattered with flowers
and leaves. The outlines are rather hard, and none of the aerial
perspective of the Flemings is given. After a time French sentiment
was still further encroached upon by Flemish realism, as shown in the
works of the Master of the Lyversberg Passion (fl. about 1463-1480),
to be seen in the Cologne Museum.
The brothers Maris have made a distinct impression on modern Dutch
art, and, strange enough, each in a different way from the others.
James Maris (1837-) studied at Paris, and is remarkable for fine,
vigorous views of canals, towns, and landscapes. He is broad in
handling, rather bleak in coloring, and excels in fine luminous skies
and voyaging clouds. Matthew Maris (1835-), Parisian trained like his
brother, lives in London, where little is seen of his work. He paints
for himself and his friends, and is rather melancholy and mystical in
his art. He is a recorder of visions and dreams rather than the
substantial things of the earth, but always with richness of color and
a fine decorative feeling. Willem Maris (1839-), sometimes called the
"Silvery Maris," is a portrayer of cattle and landscape in warm
sunlight and haze with a charm of color and tone often suggestive of
Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a
fine painter of marines and sea-shores, and Mauve (1838-1888), a
cattle and sheep painter, with nice sentiment and tonality, whose
renown is just now somewhat disproportionate to his artistic ability.
In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner,
Witsen, Haverman, Weissenbruch.
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