THE ITALIAN INFLUENCE
The Italianising influence was already beginning to make itself felt, to the lasting detriment of Dutch painting, and the typical example of this downward movement is Nicolaes Berchem (1620–1683), who was founded on his father, Pieter Claesz, and on Pieter de Grebber, and Jan Wils at Haarlem, while he also was impressed by Claes Moyaert and J. B. Weenix at Amsterdam, where he removed in 1677. There is scarcely a well-furnished gallery in Europe that does not seek to pride itself on possessing one of Berchem’s renderings of Crossing the Ford, or a Woman upon an Ass in conversation with another Person. The Louvre is no exception to this rule, and exhibits his Cattle crossing a Ford (No. 2315) and nine other canvases and panels, nearly all of which bear his much-vaunted signature. His art is to-day deservedly out of fashion with discerning collectors.
Berchem’s pupil, Karel du Jardin (1622–1678), who is invariably at much pain to sign his pictures, is seen to some advantage in his very Italian and in every way characteristic Italian Charlatans (No. 2427), the typical Ford in Italy (No. 2428), and eight other works. His attempts to depict a Calvary (No. 2426) have not been crowned with success, as the composition is overcrowded and undramatic; nor do we experience any emotion on regarding his Portrait of Himself (No. 2434), a small production on copper.
Breenberg (1599–1659?), who was born at Deventer, the home of Terborch, has depicted a View of the Campo Vaccino at Rome (No. 2334), and a Ruins of the Palace of the Cæsars (No. 2335) in the Italian manner beloved by Berchem and Pieter van Laer. The latter, who is also named Bamboccio, is represented by two small oval panels. Lingelbach (1622–1674), who frequently collaborated with other Dutch artists, may be judged by his Vegetable Market at Rome (No. 2447) and three other canvases, and Frédéric de Moucheron (1633?–1686) by a Leaving for the Hunt (No. 2482). It will be convenient to mention here Reynier Nooms, whose View of the Old Louvre from the Seine (No. 2491) has some historical interest.