CUXHAVEN, or Kuxhaven, a seaport town of Germany, belonging to the state of Hamburg, and situated at the extremity of the west side of the mouth of the Elbe, 71 m. by rail N.W. from Hamburg. Pop. (1900) 6898. The harbour is good and secure, and is much frequented by vessels delayed in the Elbe by unfavourable weather. A new harbour was made in 1891-1896, having a depth of 26¼ ft., with a fore port 1000 ft. long by 800 ft. wide; and it is now the place of departure and arrival of the mail steamers of the Hamburg-American Steamship Company, who in 1901 transferred here a part of their permanent staff. The port is free, i.e. outside the customs union (Zollverein), the imports being principally coals, bricks and timber, and the exports fish. There is a fishing fleet, for which a new harbour was opened in 1892. Though lying on a bare strand, the town is much frequented as a bathing place by Hamburgers. It is strongly fortified, and there are a lighthouse, and lifeboat and pilot stations. The town only dates from 1873, having been formed by uniting the villages of Ritzebüttel and Cuxhaven, which had belonged to Hamburg since 1394.
CUYABÁ, or Cuiabá, capital of the inland state of Matto Grosso, Brazil, about 972 m. N.W. of Rio de Janeiro, on the Cuyabá river near its discharge into the São Lourenço, the principal Brazilian tributary of the Paraguay. Pop. (1890) 14,507; of the municipality, 17,815. The surrounding country is thickly populated. Cuyabá has uninterrupted steamer communication with Montevideo, about 2500 m. distant, but has no land communication with the national capital, except by telegraph. The climate is hot and malaria is prevalent. Cuyabá was founded in 1719 by Paulista gold hunters, and its gold-washings, now apparently exhausted, yielded rich results in the 18th century. It is the see of a bishopric and headquarters of an important military district, having an arsenal and military barracks.
CUYAPO, a town of the province of Nueva Ecija, Luzon, Philippine Islands, 28 m. N.N.W. of San Isidro, the capital. Pop. (1903) 16,292. Rice is grown here. In 1907 the town of Nampicuan was formed from part of Cuyapo.
CUYP, the name of a Dutch family which produced two generations of painters. The Cuyps were long settled at Dordrecht, in the neighbourhood of which they had a country house, where Albert Cuyp (the most famous) was born and bred.
The eldest member of the family who acquired fame was Jacob Gerritsz Cuyp, born it is said at Dordrecht in 1575, and taught by Abraham Bloemaert of Utrecht. He is known to have been alive in 1649, and the date of his death is obscure. J. G. Cuyp’s pictures are little known. But he produced portraits in various forms, as busts and half-lengths thrown upon plain backgrounds, or groups in rooms, landscapes and gardens. Solid and clever as an imitator of nature in its ordinary garb, he is always spirited, sometimes rough, but generally plain, and quite as unconscious of the sparkle conspicuous in Frans Hals as incapable of the concentrated light-effects peculiar to Rembrandt. In portrait busts, of which there are signed examples dated 1624, 1644, 1646 and 1649, in the museums of Berlin, Rotterdam, Marseilles, Vienna and Metz, his treatment is honest, homely and true; his touch and tone firm and natural. In portraying children he is fond of introducing playthings and pets—a lamb, a goat or a roedeer; and he reproduces animal life with realistic care. In a family scene at the Amsterdam Museum we have likenesses of men, women, boys and girls with a cottage and park. In the background is a coach with a pair of horses. These examples alone give us a clue to the influences under which Albert Cuyp grew up, and explain to some extent the direction which his art took as he rose to manhood.
Albert Cuyp (1620-1691), the son of Jacob Gerritsz by Grietche Dierichsdochter (Dierich’s daughter), was born at Dordrecht. He married in 1658 Cornelia Bosman, a rich widow, by whom he had an only daughter. By right of his possessions at Dordwyck, Cuyp was a vassal of the county of Holland, and privileged to sit in the high court of the province. As a citizen he was sufficiently well known to be placed on the list of those from whom William III., stadtholder of the Netherlands, chose the regency of Dordrecht in 1672. His death, and his burial on the 7th of November 1691 in the church of the Augustines of Dordrecht, are historically proved. But otherwise the known facts concerning his life are few. He seldom dates his pictures, but it appears probable that he ceased to paint about 1675. It has been said that Albert was the pupil of his father. The scanty evidence of Dutch annalists to this effect seems confirmed by a certain coincidence in the style and treatment of father and son. That he was a pupil of van Goyen has been surmised on the strength of the style of his early works. It has been likewise stated that Albert was skilled, not only in the production of portraits, landscapes and herds, but in the representation of still life. His works are supposed to be divisible into such as bear the distinctive marks C. or A. C. in cursive characters, the letters A. C. in Roman capitals, and the name “A. Cuyp” in full. A man of Cuyp’s acknowledged talent may have been versatile enough to paint in many different styles. But whether he was as versatile as some critics have thought is a question not quite easy to answer. It is to be observed that pieces assigned to Cuyp representing game, shell-fish and fruit, and inscribed A. C. in Roman capitals (Rotterdam, Amsterdam and Berlin museums), though cleverly executed, are not in touch or treatment like other pictures of less dubious authenticity, signed either with C. or A. C. or “A. Cuyp” in cursive letters. The panels marked C. and A. C. in cursive are portraits or landscapes, with herds, and interiors of stables or sheds, in which there are cows, horses and poultry. The subjects and their handling are akin to those which strike us in panels bearing the master’s full signature, though characterized, as productions of an artist in the first phase of his progress would naturally be, by tones more uniform, touch more flat, and colour more deep than we find in the delicate and subtle compositions of the painter’s later time. Generally speaking, the finished examples of Cuyp’s middle and final period all bear his full signature. They are all remarkable for harmonies attained by certain combinations of shade in gradations with colours in contraposition.