Pieter J. Quast.—Pieter Jansz Quast (1606-47) was a follower in the steps of Adriaen Brouwer. His selection of subjects often verges on caricature. His characterization is well displayed in The Card Players. The figure of the young woman in this picture, however, has been entirely repainted by another hand.
Thomas Wijck's Versatility.—Thomas Wijck (1616-77) was another artist who visited Italy and painted its landscapes, especially coast scenery, after having been taught, or at least influenced, by P. de Laer. Besides marines, he painted interiors, fairs, etc. He had the talent to depict sea-gates full of movement, figures and merchandise, in the taste of J. B. Weenix, markets, outlandish charlatans, public squares, hunts, ruins, tavern scenes, and everything that the Italians call capricci.
Chemical Laboratories his Forte.—But the subject that he treated with the greatest care and taste, and with which he was most happily successful, was that of chemical laboratories. These he arranges, illuminates, and paints in a style entirely his own. Without endowing them with the magic of A. van Ostade, or enveloping them in that master's full and warm atmosphere, Wijck gave much charm to his alchemistic interiors, and the objects he multiplied therein are full of the right kind of feeling.
His Picture of The Alchemist.—Moreover, he has a sound comprehension of chiaroscuro, as may be seen here in his picture The Alchemist. He casts a shadow over the skeleton fish and stuffed crocodiles and other monstrous animals hanging from the ceiling. The principal light usually falls full upon a medley of phials, retorts, furnaces, bellows, and alembics—a whole apparatus of strange utensils that in a subject of this kind could not be regarded as mere accessories, and which are touched with spirit but also with sobriety. A second window at the end of the apartment admits a softer light that forms an echo to the principal one, and faintly illumines other objects that are toned down by the intervening atmosphere. Placed in the centre of his laboratory, wearing a red cap, Wijck's alchemist is quite individual in not being old, bald, bent, or grizzled; on the contrary, here is a man in the prime of life and full of health, with a bright eye and an open countenance that has no such melancholy in it as is generally affected by alchemists. It is therefore reasonable to conclude that Wijck has represented himself in the person of this seeker after gold.
The Rustic Interior depicts a woman spinning, with a child and a dog near her.
Karel Slabbaert.—Karel Slabbaert (1619-54), whose Grace before Meat is in this gallery, is supposed to have been one of G. Dou's pupils. His pictures are scarce. This one shows a woman cutting bread, while two children are saying grace. He paints in warm tones; his composition is good and full of feeling.
Jan Wolfert.—Jan Baptist Wolfert (1625-87) also travelled in Italy, and was famous for his classical landscapes with animals and human figures; he also painted genre. He was very learned; and his works show fine spirit and imagination. The Bagpipe Player is dated 1646, and is therefore an early work of this artist before he was subjected to foreign influence.
Caspar Netscher.—Besides three portraits of brilliant quality, Caspar Netscher has a beautiful little interior called Maternal Care, in which the influence of his master, Ter Borch, is noticeable. This picture of a mother arranging her child's hair is generally considered this artist's masterpiece. There is some story told with each of his portraits. He marvellously rendered the texture of stuffs; and his drawing is always full of grace and truth. Inferior to Ter Borch in harmony and chiaroscuro and to Metsu in touch, and to both in feeling for color, he equals them in the tasteful composition and the elegance of his figures, and surpasses them in beauty of form.
Esaias Bourse.—Esaias Bourse (1630-?) was a follower of Rembrandt. He had a roving career, making many voyages to the East Indies during sixteen years as an officer, and then working as a painter in Italy. His color is usually brownish in tone. His pictures have sometimes been confused with those of another of Rembrandt's pupils—Pieter de Hooch. An Interior with a Woman Spinning enables us to compare the merits of the two artists.
Daniel Boone.—Daniel Boone (1631-98) painted mythological subjects and familiar scenes of peasant life. In the latter, his chief aim was to provoke laughter by the representation of grotesque situations and grimaces. In this he was generally successful. Peasants Playing Cards is painted in this vein.