DUTCH AND FLEMISH PAINTERS,

CLASSIFIED ACCORDING TO THEIR SUBJECTS, AND ALPHABETICALLY ARRANGED.

LANDSCAPE PAINTERS.

ACHTSCHELLING, LUCAS, was born at Brussels in 1570. He was a scholar of Louis de Vadder, and was considered to be one of the ablest artists of his time. His manner is broad and bold, the foliage of his trees is lightly touched, his forms and scenery grander than those of contemporary painters of his country, and the distances well preserved. He died in 1631.

APPELMAN, BERNARD, or BARENT. His landscapes are picturesque views in the vicinity of Rome. He painted the landscape back-grounds to the portraits by several eminent painters, particularly those of Jan de Baan. He was born at the Hague in 1640, and died in 1686.

ARTOIS, JAQUES, or JACOB, was a very eminent landscape painter; his pictures are frequently on a grand scale, and are faithful representations of the scenery of his country; his touch is light and free, the forms of his trees noble, and the foliage appears in motion; his distances are well conducted, and his skies clear, cool, and silvery. The figures are generally by Teniers, and occasionally by P. Baut, or Michau. He was born at Brussels in 1613, and died about 1666.

ASCH, PETER VAN, was an excellent painter of small landscapes. Many of them have assumed a brown tint in parts, but where the original verdure remains they are remarkably pleasing. He is quite original in his selections, simple in

his choice, and free in his penciling. He was born at Delft in 1603; the date of his death is not ascertained.

BATTEM, GERARD VAN. See Scholars of Rembrandt.

BEMMELL, WILLIAM VAN, was a scholar of Herman Zachtleven, but passed much of his time in Italy and Germany, collecting materials for future works from the picturesque scenery of each, in ancient ruins, architecture, waterfalls, and other objects that tend to enrich the landscape. He returned to his own country, and used his materials so skilfully that his works were in the greatest estimation: they are scarce elsewhere. He was born at Utrecht in 1630, and died in 1703.

BLOEMEN, JAN FRANCIS VAN, by the Italians named ORIZZONTE, can only be ranked among Flemish painters from being born at Antwerp; for his landscapes have no relation to the country. He went to Italy when very young, and passed the rest of his life there. His landscapes represent the beautiful scenery of the environs of Rome, particularly of Tivoli, selected with taste, painted with masterly freedom, and colouring as fresh as nature. His nice attention to perspective gradation obtained for him the sobriquet by which he is generally known, Orizzonte, and is observable in all his pictures. Gaspar Poussin seems to have been his model; there is so much analogy to that master in some of his scenes, that an amateur has good cause for hesitation in deciding. With all his merits, it is only persons of fine taste and judgment in works of art that duly appreciate him in this country. He was born at Antwerp in 1656, and died in 1740.

BREENBERG, BARTHOLOMEW, though a native of Holland, may almost be called an Italian painter. His scenes are generally the picturesque objects in the environs of Rome, which he painted with great suavity of colour, and with a delicate pencil. The selections are romantically beautiful, though chiefly on a very small scale, and are charming objects to every person of refined taste. He was born at Utrecht in 1620, and it is said that he died in 1663, but this is uncertain.

BRIL, PAUL, like, Breenberg may be considered rather an Italian than a Flemish or Dutch painter. His landscapes and style of painting both belong to the country where he

studied. His penciling is marked and peculiar, and his colouring verdant, with a tendency to blue. In many of his pictures there is too much attention to detail in the foliage, but at the same time freedom in the handling, and in the distribution of the objects he shows the practised master. Claude did not disdain to tread sometimes in his steps in his earlier pictures. The figures and animals in Bril's landscapes are generally by Annibal Carracci. He was born at Antwerp in 1554, and died at Rome in 1626.

CALL, JAN VAN, a native of Nimeguen, copied some of Paul Bril's landscapes; he died at the Hague in 1703.

CROOS, A. VAN, (called the younger,) painted landscapes and river scenes in the manner of Peter Molyn and Van Goyen; his father also painted small woody scenes on panel, which are very indifferently executed: some are dated 1631.

DAELE, JAN VAN, painted landscapes representing mountainous and rocky scenery. He was born in 1530, and died in 1601; there are no further particulars of him recorded.

DECKER, Or DEKKER. This name will be found among the imitators of Ruisdael and Hobbema; but as there were several Dekkers distinguished by the prenoms of Adrien, Coenraet, Charles, Cornelius, Francis, Jan, Jacques, &c., it is difficult to ascertain to which the landscapes should be attributed, and to which the interiors; the colouring is similar in both. Dekker's landscapes have great intrinsic merit, and are highly appreciated when they are enriched with the figures and cattle of Adrian Ostade, or Adrian Van de Velde. See the article in the enlarged edition of Bryan's "Dictionary of Painters and Engravers."

DIEST, ADRIAN VAN, born at the Hague in 1655, passed the greater part of his life in England. He has the misfortune of being estimated by his worst landscapes, such as are sometimes found painted on the wainscots of old houses, both in town and country, which have a large portion of mountainous back-ground, ruins of ancient castles, with occasionally a stag-hunt or stray cattle in the fore-ground. In the execution of these it is said that he charged by the square yard. But it may be supposed that he painted better pictures, as there were no less than seven landscapes by him in Sir Peter Lely's Collection, and his etchings from his own

designs show that he was a clever artist. He died in London in 1704.

DREVER, ADRIAN VAN, flourished about 1673. He passed the greater part of his artistic life in England, and painted landscapes and marine views: a picture by him has been engraved by J. Boydell.

DROSSAERT,

painted landscapes with staghunts; he lived in the seventeenth century.

EDEMA, GERARD, was a scholar of Albert van Everdingen, and like him painted rocky landscapes with waterfalls, and views in Norway. These are designed with spirit, but they have not the simple colouring and masterly penciling of Everdingen. The figures in his pictures are generally by John Wyck. Edema came to England about 1670, and continued to reside here, except when making occasional voyages to Norway and Newfoundland, and died at Richmond in 1700.

ESSELENS, or ESSELYNS, JACOB, painted woody landscapes with stag-hunts, villages on the banks of rivers, buildings with magnificent fountains, and enriched with figures; and occasionally river views, of which he made many beautiful designs. His pictures are spiritedly touched, and painted in a clear tone of colour; his drawings are held in very high estimation. It is said that he was a scholar of Rembrandt, but there is no appearance of that in his style. It is supposed that he was born at Amsterdam; there is, however, no satisfactory account of him on record.

EVERDINGEN, ALBERT VAN. For a short account of this admirable landscape painter, see Analogists of Jacob Ruisdael. EYNDEN, FRANZ VAN, born at Nimeguen in 1694, painted small landscapes in the manner of Jan van Huysum. The skies and distances are serene, and the clouds are pleasingly reflected in the water; the figures are also well designed, and distributed with judgment. He seldom signed his pictures unless required to do so by the purchaser; hence they are frequently attributed to Van Huysum. Van Eynden died at Nimeguen in 1742.

FOUQUIERES, JACQUES, painted landscapes in a grand style. He received his first instructions in the art from Josse Momper and Jan Breughel, but improved himself afterwards by studying at Rome and Venice. He made the

landscapes of Titian his models, and almost equalled them in everything but colour; in this he is clear and fresh, but too verdant. As he painted much in fresco, his works are not so generally known as others of less pretensions, and it is seldom that they are quoted in collections out of Italy, Germany, or France. He occasionally painted the backgrounds to the larger compositions of Rubens, which may be distinguished by their Italian gusto. He was born at Antwerp in 1580, and died at Paris in 1659.

GENOELS, ABRAHAM, is reckoned among the best landscape painters of his country, though his scenery is more Italian than Flemish. His colouring is natural and vigorous, and his touch facile and appropriate to the object. He painted the back-grounds to Le Brun's battles of Alexander. His cabinet-size landscapes are of rare occurrence, and are much esteemed by real connoisseurs. He was born at Antwerp in 1640, and died there, but when is uncertain, as it is said at a very advanced age. He was called Archimedes by the Bentivogel Society, on account of his knowledge in mathematics, and some of his etchings are so signed.

GLAUBER, JAN, was born at Utrecht in 1646, and had his first instruction, as a painter, under Nicholas Berchem, but afterwards studied at Paris, and at Rome; hence his landscapes have the classic air of Italy. They are very carefully penciled, and chastely coloured, ornamented with buildings and remains of antiquity; the figures introduced are by Lairesse, called the Poussin of Holland, and accord well with the scenery. Glauber died in 1627.

GOYEN, JAN VAN. This admirable painter of landscapes and river views has never received the meed due to his

merits from his biographers. There is a mastery of conception, selection, and execution, in his larger pictures that has been rarely equalled and never surpassed by any of his countrymen; Everdingen and De Vlieger are the nearest analogists. Unfortunately for his reputation, his small pictures are of frequent occurrence, and these being painted in a sketchy manner, and in colours that have lost their vivacity, has induced a belief, in those who have never seen his fine productions, that he was an ordinary artist. But even these, when properly considered, show the skill of a master mind and hand; divest them of their faded colour,