On representations of rough weather by this painter and Vandevelde, Ruskin writes as follows: "If one could but arrest the connoisseurs in the fact of looking at them with belief, and, magically introducing the image of a true sea-wave, let it roll up through the room,—one massive fathom's height and rood's breadth of brine, passing them by but once,—dividing, Red-Sea like, on right hand and left,—but at least setting close before their eyes, for once in inevitable truth, what a sea-wave really is; its green mountainous giddiness of wrath, its overwhelming crest—heavy as iron, fitful as flame, clashing against the sky in long cloven edge,—its furrowed flanks all ghastly clear, deep in transparent death, but all laced across with lurid nets of spume, and tearing open into meshed interstices their churned veil of silver fury, showing still the calm gray abyss below; that has no fury and no voice, but is as a grave always open, which the green sighing mounds do but hide for an instant as they pass. Would they, shuddering back from this wave of the true, implacable sea, turn forthwith to the papillotes? It might be so. It is what we are all doing, more or less, continually" (Harbours of England, p. 19). In default of the actual sea-wave, the visitor may be recommended to look next at Turner's rough seas (472 and 476). Such a comparison will show how much of the roughness in the Dutch pictures is due to mere blackness, how little to any terror in the forms of the waves, such as Turner depicts.
820. LANDSCAPE WITH RUIN.
Berchem (Dutch: 1620-1683). See 78.
821. A FAMILY GROUP.
Gonzales Coques (Flemish: 1618-1684).
In spite of his Spanish-sounding name, this artist was a pure Fleming. He was born at Antwerp and appears never to have left his native town. His father, whose surname was Cocx, gave the child the name of Gonzalvus: these names the painter afterwards changed to Gonzales Coques. His first master was Peter Breughel (the third painter of that name). He afterwards studied under David Ryckhaert the Elder, whose daughter he married. His first subjects were conversation-pieces and assemblies; but the extraordinary reputation acquired by Van Dyck for his portraits inspired Coques with the ambition to distinguish himself in like manner, although on a smaller scale. There is in the little works of Coques the same air of elegance and refinement which distinguishes Van Dyck. Hence he has been called "the Little Van Dyck." His works, says Bürger, are "Van Dycks seen through the wrong side of the glass"; or as another critic puts it, "Van Dycks in 18mo." They were greatly admired during his lifetime, and he was patronised by Charles I., the Archduke Leopold, and the Prince of Orange. His works, however, are very rare; about half of them are in this country. He was admitted as a master in the Guild of Painters in 1640-41, and twice served as its Dean, in 1665-66 and 1680-81.
Notice the youngest child in the go-cart, which is being pushed by another of the children, whilst the eldest sister, as befits her years, is playing the guitar. And the little dogs, as befits them, are sporting in front. It is pretty of the painter or his sitters to include them in the family group.
822. AN EVENING LANDSCAPE.
Cuyp (Dutch: 1620-1691). See 53.
An excellent example of the hazy, drowsy effect in which Cuyp excelled. "A brewer by trade,[190] he feels the quiet of a summer afternoon, and his work will make you marvellously drowsy. It is good for nothing else that I know of; strong, but unhelpful and unthoughtful. Nothing happens in his pictures, except some indifferent persons asking the way of somebody else, who, by the cast of countenance, seems not likely to know it. For further entertainment, perhaps, a red cow and a white one; or puppies at play, not playfully; the man's heart not going even with the puppies. Essentially he sees nothing but the shine on the flaps of their ears" (Modern Painters, vol. v. pt. ix. chap. vi. § 12).