Gerharda Hermina Marius

Summary

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

Their names are Van Looy, Van der Valk, Voerman, Haverman, Derkinderen, Toorop, Witsen, Karsen and Veth. If we wish to sum up the endeavours of these artists in a formula, it may be expressed as a mistrust of any sort of impressionism, of any passion or painter's enthusiasm, a mistrust sprung from a reaction against the inane and feeble imitators of the Hague school, against the impressionism which Gerard Bilders went so far as to think that he could see in the imitations of the Barbizon school, and, consequently, as a conscious striving after form, pronounced line and purity of colour.
Source: Wikisource

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

His colouring is often unreal and betrays a search after colour in the studio; but the action is taken from everyday life and seen with the eyes of an artist.
He was brought up for a carriage-painter, studied under Poorter and Allebé at the Academy and was subject to no other influences. His greatness is due to the power of his painting, but as an artist in words he is greater still: the prose of his Spain has perhaps never been surpassed in our literature. Who shall fathom the complex nature of this positive and strenuous painter-author?
Source: Wikisource

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

These psychological portraits, in which character-analysis is so clearly visible, must, necessarily, often be more attractive to the philosophical spectator than to the sheer painter, who, moreover, frequently considers that portraiture does not come within the scope of pure art. Nevertheless, Veth has proved himself a master in this series of portraits, not only by his search for the intellectual qualities of the sitter, but by his systematic construction of the portraits, in which good modelling of the head, minute and careful drawing, expression and will-power are evident.
Source: Wikisource

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