. Die Niederlande Galerien: eine Geschichte der Niederländischen Schule der Malerei, beleuchtet und durch kritische Beschreibungen der großen Gemälde gezeigt in den vielen Galerien. s seiner Kunst sind in theNetherland Galerien, viele weitere sind in foreigncollections, insbesondere in England. Wer sich durch das Beispiel der Cuypand von Salomo van Ruysdael gebildet wurde, der Vertrag von Amsterdam-mer Aert van der Neer (1603-1677). Er paintedwaterscapes, bevorzugt reflektierenden silbernen Mond - Licht, oder die feurige Glut der eine Feuersbrunst und alsowinter Szenen mit Zahlen auf dem Eis. In seinem latestyears wurde er etwas Überh

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. The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries. s of his art are in theNetherland Galleries, many more are in foreigncollections, notably in England. One who formed himself by the example of Cuypand of Salomo van Ruysdael was the Amsterdam-mer Aert van der Neer (1603-1677). He paintedwaterscapes, by preference reflecting silvery moon-light, or the fiery glow of a conflagration, and alsowinter scenes with figures on the ice. In his latestyears he became somewhat superficial, but, bar this, his touch was dainty and spirited. Strangely he waswithout recognition during his life and died verypoor. We must yet note in Utrecht Cornells Saft-leven (1606-1681), a scholar in van Goyens studio, who painted agreeable little river views with a finebrush. His art, though conventional, is delightfulin its way. He also devoted himself to portraitureand allegory. We find now gradually a tendency appearingamong some of the younger men to travel to Italy, where they became naturally influenced in their pre-sentation of nature by the Southern spirit. The. GERR1TDOU Plate xvn(See page 325) Ubc Xanfcscape painters 129 landscape school of the century becomes now di-vided between those who were independent andnational, and those who became Italianized, andwere the cause of the ultimate decadence of the artof that glorious age. The beginning of landscapepainting in its truly national form has now beendiscussed; we will continue this thread by followingthose who remained true to their country, amongwhom the greatest of all are to be found. After-wards we will return to those who submitted toforeign influences. Filips Koninck (1619-1688), born in Amster-dam, studied with Rembrandt and devoted himselfmost to landscape, only a few portraits by himbeing known. He received from his master thatprepossession for distance and perspective which isso noticeable in Rembrandts T

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