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WATERLOO, or WATERLO, ANTHONY. Very little is known of this artist's history; it is supposed that he was born at Utrecht about 1618. His landscapes are interesting for their simplicity; sometimes representing the entrance to a forest; a broken road with a few trees; a solitary cottage, or a watermill; all of which are given with the greatest truth: occasionally he extends the view and introduces a winding stream. The foliage of his trees and plants is fresh and tender, touched with spirit and a marked attention to the species; his skies are light and floating; his colouring chaste and natural; all is easy, and there appears no attempt to produce a striking effect. His pictures in oil are very rare, and it is not known that he ever signed them with his name. The time of his death is uncertain.

WILDENS, JAN. See Coadjutors of Rubens.

WILS, or WILTS, JAN. See Imitators of Jan Both. WYNANTS, JAN. There is great diversity in the compositions of this master's landscapes, but the same characteristics appear in most. Sandy hills, clayey banks, winding roads, richly foliated trees, luxuriant herbage, a decayed oak, brambles, docks, and wild flowers. In his larger pictures there is generally a wide expanse of country finely varied by undulating grounds, with streams of water irrigating the meadows, well studded with trees, and bounded by hills in the distance. Occasionally ruins of decayed brick-work of an old mansion, or other building, intimates that formerly it was the site of a chateau. All these objects, in his best pictures, are excellently arranged and richly coloured.

ever was the ordonnance of his landscape, he had a pupil, or a coadjutor, at hand to enhance the interest by the introduction of a suitable subject. If a hunting or hawking party was needed for a gay scene, Philip Wouwerman was master of the hounds; if for pastoral serenity, Adrian Van de Velde supplied the cattle; if the scene admitted of both or either, Jan Lingelbach stepped forward with his ready pencil and did the needful. Even Adrian Ostade sometimes lent his assistance. Peter Wouwerman, Schellincks, Solemaker, and others also contributed to a few. The amateur, however, will find the greatest number have the cattle and figures by Adrian Van de Velde, or Jan Lingelbach. See the article Jan Wynants, under Principal Painters.

LANDSCAPES WITH CATTLE AND FIGURES.

ANTONISSEN, HENRY, was born at Antwerp in 1737, and died in 1794. His style is weak and ineffective, and his pictures are not much esteemed out of his own country.

ASSCHE, HENRI VAN, born at Brussels in 1775, was a scholar of De Roy. He travelled in Switzerland, and designed the romantic and picturesque scenery of the country; these, with views on the Rhine, and selections from the forest of Ardennes, form many of his numerous beautiful landscapes. Some of his pictures are of rather large dimensions, and are enriched with animals and figures by Ommeganck. He holds a very distinguished place among the modern landscape painters of his country. He died in 1841. ASSELYN, JAN. See Analogists of Karel du Jardin.

AVERCAMP, HENRI VAN, surnamed de Stomme van Campen, on account of his taciturnity, was born at Kampen at the end of the sixteenth century. His landscapes and cattle have lost much of their value by change of colour; his drawings of river and winter scenes are more esteemed than his paintings in oil.

AVONT, PETER VAN. His landscapes are enriched with figures well drawn, and touched with spirit. He frequently ornamented the landscapes of Vinckenbooms in the same way. He was born at Antwerp about 1619.

BEGA,

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See Imitators of Berchem. BEGYN, ABRAHAM. See Scholars and Imitators of Berchem.

BENT, JAN VANDER. See Scholars and Imitators of Berchem.

BERCHEM, OF BERGHEM, NICHOLAS. Though there is greater variety in the compositions of the pictures by this

master that may properly be called pastoral, than in those of any other painter of the Dutch school, yet they all have his characteristics in arrangement, forms of cattle and figures, masterly drawing, lively action, and rich colouring. A wellwooded and watered landscape with hilly back-ground; frequently with ruins, or a bridge crossing a stream; groups of cattle, goats and sheep, browsing, or in repose; a herdsman, or shepherd following, or tending their charge; a female peasant in showy costume, mounted on a mule with gay trappings; or cattle in groups fording a river, while others are grazing in the meadow, or preparing to follow; constitute several of his fine compositions. The effects of morning, noontide, or evening, are shown in the silvery clouds, sultry sky, or vapoury atmosphere. His landscapes are too richly wooded for Holland, and altogether too picturesque in other respects to leave any doubt in the mind of the observer that they are the artist's reminiscences of Italy, Switzerland, or Germany. The peasants, male and female, are manifestly Italian in person, garb, and graceful action. Some of his small pictures, containing a few head of cattle, one or two sheep, a goat, a dog, and a single figure, are of exquisite quality, and command a price accordingly, such as can be afforded only by the most opulent.

See the article Nicholas Berchem, under the head of Principal Painters; also, under the heads Hunting Pieces, Seaports, Battles, Winter Scenes, &c.

BERGEN, DIRCK VAN. See Analogists to Adrian Van de

Velde.

BLINKVLIET, M- -, a painter of whose history very little is known, except by tradition that he imitated Berchem so exactly that his pictures have been mistaken for the works of that master. If they really are so good, there is less reason to regret the loss of his name, except so far as regards his reputation; the accidental appearance of a picture bearing his signature may, some day, confirm or falsify the tradition. It is supposed that he was contemporary with Berchem. BORSUM, ADAM. See Analogists to Paul Potter; he also imitated Adrian Vander Neer in moonlight scenes very closely. By some writers he is called Abraham Van Boresum, by others Borssum.

BOTH, JAN and ANDREW.

These brothers, as artists,

belong rather to Italy than Holland; they are no more Dutch painters than Claude or the Poussins were French. Italy was the place of their studies, and Italian landscapes and skies, with the peasantry and animals of that country, the subjects of their pictures. Their scenes are selected from the environs of Tivoli, the passes of the Apennines, the wilds of Calabria, and other picturesque localities; generally mountainous, well-wooded, rocky, and frequently diversified with falls of water. The tone is always warm, often glowing, and in the meridian sunshine intensely hot; the skies pure azure and gold, and the few clouds light and floating. In representations of morning or evening appearances, a vapoury exhalation rises from the valleys, or between the hills, and is as refreshing to the eye of the spectator as the reality is to the overheated vegetation. Muleteers with their beasts, peasants driving cattle, travellers mounted on mules or asses, and pedestrians, are the living objects in these wild and romantic regions. Occasionally lawless banditti and their captives remind the spectator that the place is one of hazard and remote from protection. Sometimes a portion of Scripture history is introduced, as Philip baptizing the eunuch, and Hagar and Ismael; the story of Mercury and Battus, or sportsmen in pursuit of game. The figures and animals that are most in accord with the landscapes are by Andrew; they are true to the country in forms, costume, and manners. Some have nymphs and other ideal characters by Poelemburg, a few have figures and animals by Berchem and Philip WouFine specimens sell in open sales from three to eight hundred guineas; others are estimated at fifteen hundred to two thousand guineas, or more.

werman.

See the article Jan and Andrew Both, under the head of Principal Masters.

BOUT (properly BAUT) and BOUDEWYNS painted conjointly, the landscape being by Boudewyns, and the figures and cattle by Baut. See the article in the enlarged edition of Bryan's Dictionary.

BREUGHEL, JAN, painted a variety of subjects, and was eminent in all. His small landscapes with cattle and figures are spiritedly touched, and brilliantly coloured; Rubens did not disdain to have him as an auxiliary. See Painters of Flowers and Fruit.

CABEL, or KABEL, ADRIAN VANDER, painted landscapes and cattle in which he imitated Castiglione and Salvator Rosa, and sometimes Mola; indeed, in most of his landscapes may be found an imitation of some eminent painter of Italy or Holland; he also painted seaports. His figures and animals are correctly drawn, and touched with spirit, but there is much inequality in his pictures. He was born at Ryswick in 1631, and died at Lyons in 1695.

CAMPHUYSEN, or KAMPHUYSEN, THEODORE RAPHAEL, is mentioned by several writers as a painter of landscapes and cattle in the manner of Paul Potter, and some have supposed that he was his scholar; but as Camphuysen was born in 1586, and, it is said, died in 1626, that supposition is disposed of. That Camphuysen painted landscapes and cattle resembling Paul Potter's is true, for such are in existence; but that the same artist painted the landscapes with cattle and figures that occasionally appear in commerce under the name of Camphuysen may be doubted, as they have no resemblance whatever to the style of Paul Potter. See the note to the article Camphuysen in the enlarged edition of Bryan's Dictionary.

CARPENTERO, JEAN CAROL, born at Antwerp in 1784, painted landscapes with cows and sheep in the manner of Ommeganck, and which are generally assigned to that master by the importers of them to England.

CARRE, MICHAEL, was a scholar of Nicholas Berchem, but he did not adopt the style of his master; he followed the inferior manner of Gabriel Vander Leeuw, as better suited to his bold and facile penciling in large subjects for house decorations. His easel pictures of landscapes with cattle are more carefully painted, and show that his earlier instructions were not entirely disregarded. These are occasionally found in very respectable collections. He was born at Amsterdam in 1666, and died at Alkmaer in 1728. See Scholars of Berchem.

CODDE, PETER, or CHARLES, is mentioned by some writers as a painter of landscapes with cattle in the manners of Jan and Andrew Both and Nicholas Berchem, and that he was born at the Hague in 1640, and died in 1698; by others this account is applied to Peter Codde. It is also said that Charles painted assemblies of soldiers and conversation

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