Hobbema, a Master of the Still Life of Woods and Waters.—"It is doubtful whether any one ever mastered so completely as he did the still life of woods and hedges, or mills and pools. Nor can we believe that he obtained this mastery otherwise than by constantly dwelling in the same neighborhood, say in Guelders or on the Dutch Westphalian border, where day after day he might study the branching and foliage of trees and underwood embowering cottages and mills, under every variety of light, in every shade of transparency, in all changes produced by the season. Though his landscapes are severely and moderately toned, generally in an olive key, and often attuned to a puritanical gray or russet, they surprise us, not only by the variety of their leafage, but by the finish of their detail as well as the boldness of their touch. With astonishing subtlety light is shown penetrating cloud, and illuminating—sometimes transiently, sometimes steadily—different portions of the ground, shining through leaves upon other leaves, and multiplying in an endless way the transparency of the picture. If the chance be given him he mirrors all these things in the still pool near a cottage, the reaches of a sluggish river, or the swirl of a stream that feeds a busy mill. The same spot will furnish him with several pictures. One mill gives him repeated opportunity of charming our eye. And this wonderful artist, who is only second to Ruisdael because he had not Ruisdael's versatility and did not extend his study equally to downs and rocky eminences or torrents and estuaries,—this is the man who lived penuriously, died poor, and left no trace in the artistic annals of his country. It has been said that Hobbema did not paint his own figures, but transferred that duty to Adriaen van de Velde, Lingelbach, Barent Gael, and Abraham Storck. As to this, much is conjecture."[25]
Hackaert's Pictures.—Jan Hackaert is perfect when he is simple and inspired by the character and style of his own country. The Rijks owns his beautiful Avenue of Ash-trees; a Clearing in the Forest; a Landscape with Cattle; and a Landscape, which is full of light and delicacy, and recalls the manner of Wijnants, although the arrangement follows the pseudo-Italians.
Hackaert's Avenue of Ash-trees.—The Avenue of Ash-trees is a charming picture, representing a park from which a hunting-party is about to set forth in the early morning. The light shines on the trunks of the trees that border the park, to the right of which is a large sheet of water. Huntsmen accompanied by dogs, one of which is barking at two swans in the pool, ladies and gentlemen on horseback, servants, and dogs, all issue forth with good wishes from the master of the château at the gate. All of these elegantly painted little figures are the work of A. van de Velde.
JAN HACKAERT
Avenue of Ash-trees
Joos van Winghen.—Joos van Winghen (1544-1603) travelled to Rome, where he lived for four years; and, on his return, was appointed Court Painter to the Prince of Parma. He painted portraits, interiors, and Biblical subjects. A Banquet and Masquerade at Night is one of his best-known pictures.
Pieter Aertsen.—This artist has a picture called The Egg Dance, which claims attention by its life and spirit.
Jan Lijs.—Jan Lijs (d. 1629) was a pupil of Goltzius; and then visited France and Italy, where he executed large works under Caravaggio's influence. His Music Party is signed and dated 1625; and therefore belongs to his last and not his first period, as the catalogue informs us.
Pieter van Rijck.—Pieter Cornelisz van Rijck (1568-1628) painted interiors, especially kitchens, and landscape. He was a pupil of H. Jacobs Grimani, whom he accompanied to Italy; he remained there fifteen years. The big picture in the Rijks representing a kitchen interior was described in enthusiastic terms by Van Mander.