Gerharda Hermina Marius

Summary

Gerharda Hermina Marius Dutch Art in the Nineteenth Century… (1908)

Not his manner of reproducing textures, nor his composition (and herein lies his chief force) , nor his workmanship, nor his colouring, nor even his modelling or drawing is Dutch or ever has been Dutch. His art has always been decorative, even as our seventeenth-century art and that of the nineteenth-century Hague painters are, in their essence, concentrated. He has never been anything of a tonalist, not even in the more pictorial sketch of Willem van Saeftinghen, which, after the manner of the great Leys, has something rather of the hot colouring of burnt glass.
Source: Wikisource

Gerharda Hermina Marius Dutch Art in the Nineteenth Century… (1908)

There is another painter, or rather there are two others who worked all their lives in a neighbouring country as real descendants of the seventeenth century, robust and delicate, artists and observers, painters of still-life and painters of manners, combining the palette of a Brouwer with a structure of line not unlike that of the classic Degas, while either their own nature or their long residence in Brussels caused them to couple the copiousness of a Jordaens with Adriaan Brouwer's greater delicacy.
Source: Wikisource

Gerharda Hermina Marius Dutch Art in the Nineteenth Century… (1908)

The photogravures of these paintings have been favourites even in Holland and the former has been reproduced as a living picture at wedding-feasts innumerable. We are compelled to admire the cleverness of his pretty figures, with their coquettish colouring, even though that cleverness lies entirely outside the frontiers of our own art of painting. Nevertheless, Kaemmerer, who has since painted mondain subjects for the Paris Gobelins factory, began by painting familiar Dutch topics.
Source: Wikisource

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