Part 11 (1/2)

Ah rank, and his pictures are seen inthe landscape painters of Holland ALBERT CUYP (1605-1691) is very faures and animals into his pictures, but they were of secondary iht His works are in alleries, and the increase in their value is ht a landscape, twelve by twenty inches in size, for which he paid three hundred and fifty guineas: it was originally sold in Holland for about one English shi+lling! During the first century after his death no picture by Cuyp brought ht in gold

Other fine landscape painters were Jan and Andries Both, Jan van Goyen, Jan Wynants, Adrian van de Velde, and, finally, PHILIP WOUVERMAN (1619-1668), who introducedparties, and such subjects as allowed him to introduce white horses, for which he became noted His works, as well as those of the other painters last alleries which are attributed to Wouverenuine He had ani for the picturesque

His execution was light and delicate, and there is much tenderness shown in his works There were many excellent Dutch landscape painters e have not mentioned

PAUL POTTER (1625-1654) was born at Enkhuysen, and though he died young hereputation by his pictures of aniallery at the Hague, is as well known as any one picture the world over He left one hundred and eight pictures and eighteen etchings He wascattle and sheep; his horses are not as fine He never crowded his pictures; they have an open landscape, but few animals, and perhaps a shepherd, and that is all Soh as fifty thousand dollars

JACOB RUYSDAEL (1625-1681) was born in the same year with Paul Potter His birth-place was Haarlem He came to be the very best of all Dutch landscape painters, and thoughscenery of Holland, they are so skilfully drawn and painted that they are really most attractive, if not cheerful His works nuht pictures and seven fine, spirited etchings He was fond of giving a broad, expansive effect to his pictures, and frequently placed church spires in the distance He painted a few h loomy, he sometimes painted sunshi+ne with much effect Some of his finest works are in the Dresden Gallery

MINDERT HOBBEMA was a pupil of Jacob Ruysdael, and this is almost all that is known of hireat landscape painter They sell for enorland Most of those seen in the continental galleries are not those he should be judged by At the San Donato sale in Florence, his picture of the ”Wind-Mills” sold for forty-two thousand dollars

The nue, but I shall reat men e have spoken of there comes an army of those who are called ”little Dutchcopies froreater artists

In the history of e know as Gerne, but the records of it are so scarce and i there was an important school of art which commenced with the Holbeins The first Hans Holbein is known as ”Old Holbein,” and so little is known of hiive his name The second HANS HOLBEIN, called the elder (1460-1523), painted a great nuious pictures, which are seen in various churches and galleries in Ger

In one salon of the Munich Pinakothek there are sixteen panels painted by hier,” who reached the perfection of his school (1495-1543) This painter was instructed by his father and by Hans Burgkan to receive commissions for pictures When he was about twenty-one years old he reh not nearly as many as have been called by his name

About a year after Holbein went to Basle he was called to Lucerne to decorate a house, and he executed other works there and at Altorf In 1519, when he had been three years in Basle, he becauild of painters His works at Basle were mostly decorative, and he painted few easel pictures there

Holbein married a ith one son; her name was Elizabeth Schmid She had a very bad temper It is said that she made Holbein's life so miserable that he left Basle for that reason He visited her soave her land, and his friend Erasmus said that he went because he had so little to do in Basle He carried a letter to Sir Thoreat kindness, and the artist made many portraits of Sir Thomas and his family There is a story about one of these portraits of that noblee of Anne Boleyn to King Henry VIII, and she never forgave him On the day that More was executed she looked at one of Holbein's portraits of the ex-chancellor and exclaimed, ”Ah,the picture she threw it into the street

In 1530 Holbein returned to Basle to co done he went again to London About this ti, and did many pictures for him from time to time

In 1538 Henry sent Holbein to Brussels towas thinking for his fourth wife No citizen of Basle was allowed to enter the service of a foreign sovereign without the consent of the council, so in 1538 the artist went holand Great efforts were made to keep him in Basle, but at last he received perland: the artist never went again to Basle Henry VIII beca hi-room in the palace of Whitehall

In 1539 the artist was sent to paint a portrait of Anne of Cleves, who married the next year It has been said that the picture was so flattering that when the king saw the lady he was disappointed; we know that he was soon divorced froed in London, and on the 7th of October Holbein prepared his will He died before the 29th of Nove his death and burial are not known

There are several interesting anecdotes of Holbein One relates that when passing through Strasburg he visited the studio of an artist, and finding him out, painted a fly on a picture which was on an easel When the painter saw the fly he tried to brush it away, and when he found who had painted it he searched the city for Holbein; but he had already left for England Another story shows the regard which Henry VIII had for him One day a noble, though the artist told hi the portrait of a lady by his Majesty's orders The noblereat violence, and then rushed to the king, and told him what he had done Soon after the noble; he was unable to walk, and was loud in his cory, and threatened to punish the artist legally Then Henry got angry, and said: ”Now you have no longer to deal with Holbein, but withDo you think that this man is of so little consideration with us? I tell you, my lord, that out of seven peasants I can make seven earls in a day; but out of seven earls I could not make one such artist as Hans Holbein”

[Illustration: FIG 60--BURGOMASTER MEIER MADONNA _By Holbein Dresden Gallery_]

At Basle one may see some of the most iallery where are also his ten well-known scenes from the Passion of Christ While at Basle he probablytime it was believed that he painted this subject both at Basle and at Bonn, butthat he only ns for it He also decorated the Town Hall at Basle; of this work, however, but little remains

The most celebrated work by Holbein is the ”Meyer Madonna” in the royal palace of Darmstadt, of which there is a copy in the Dresden Gallery It takes its naomaster Meyer, for whom it was painted The Madonna, with the infant Jesus in her aromaster and his family kneel before her This is what is called a votive picture, which ratitude for soer Many of these works commemorate an escape from accident or a recovery from sickness

The picture is very beautiful, and it seein wished to share her peace with the kneeling family, so sweet is the expression of her face, while the child seeinal was probably painted for a ”Chapel of Our Lady”

His ”Dance of Death” was very curious, the idea being that Death is always near us and trying to strike down his prey The pictures represent a skeleton clutching at his victi bride at the altar to the hard-working pedlar in the cut we give here, and all of theure which stands for Death itself

Holbein s, but none so important as these When the set is complete there are fifty-three cuts, but it is rare to find more than forty-six

Holbein was one of the foremost of German masters All his pictures are realistic, and raceful movement and beauty of fored; his color and ood He painted in fresco and oil colors, executed s His portraits were his best works, and in thereatest masters The most reliable portrait of this artist is in the Basle Museum It is done in red and black chalk, and represents hiular, well-shaped features, with a cheerful expression which also shows decision of character

[Illustration: FIG 61--FROM HOLBEIN'S DANCE OF DEATH]

There were other good artists in the Augsburg school after the time of the Holbeins; but I shall pass i, and to its great master, ALBERT DuRER (1471-1528), whose life was very interesting, and who stands, as an artist, a was a grand, rich old place even in Durer's time, and as a boy he was familiar with its scenery and architecture, which helped hireat man that he became He was an author of books as well as an architect, sculptor, painter, and engraver