Henry Hyde, Lord Clarendon. Sir Peter Lely, 1618-1680
English painting before the XVIII century was largely dominated by foreign artists: Holbein in the XVI century; Van Dyck in the first half of the XVII century; and, in the second half, the Dutchman, Sir Peter Lely, who came to England in 1641 and speedily won great reputation as a portrait painter, imitating the style of Van Dyck who had just died. Lely's work is distinguished by many excellent qualities, although marred by the pompous artificiality of his time. He is at his best in such a portrait as this, painted shortly after his arrival in England, of the second Earl of Clarendon (1638-1709) as a boy.
The Concert. Michiel van Musscher, 1645-1705
This interesting genre scene is by a Dutch painter of the late XVII century, a period when art, that had been democratic with Rembrandt and Frans Hals, now assumed, under the patronage of wealthy parvenus a pretentious gentility in which the accessories of life were more important than life itself. Van Musscher enjoyed considerable popularity in his time; he painted with meticulous care flattering portraits and pretty genre subjects; he was mindful of each shining pearl and gilded tassel, satin fold and silken curtain—not a detail escaped his devoted eye; but, were it not for a certain distinction which he had as a colorist and composer his paintings would have little importance today, save as records of costume and household gear.
Portrait of a Lady. Michiel Mierevelt, 1567-1641
Mierevelt, a well-known portrait painter of the Dutch school, lived principally at Delft, although occasionally residing at The Hague. He was court painter to the House of Orange, and like others of his kind, evidently enjoyed depicting the elegant costumes and accessories of his aristocratic sitters. Mierevelt differs widely from his younger and greater contemporary, Frans Hals, both in technique and in sentiment. Mierevelt's style recalls the courtly elegance of the Renaissance—which one might expect, since he was born well in the XVI century; whereas Frans Hals, striking out along new lines, represents the new spirit of democracy which inspired the long struggle in the Low Countries to win political and religious independence. The portrait, illustrated above, is dated 1630.
Tapestry, Hunting Scenes. Flemish, about 1600