Summary

Portrait of Hippolyte Taine Hippolyte Taine Art in the Netherlands — Chapter IV. (1874)

There is no school in which artists of original talent are so numerous. When the domain of art consists, not of a small summit, but of the wide expanse of life, it offers to each mind a distinct field; the ideal is narrow, and inhabited only by two or three geniuses; the real is immense, and provides places for fifty men of talent. A tranquil and pleasing harmony emanates from all these performances. We are conscious of repose in looking at them. The spirit of the artist, like that of his figures, is in equilibrium
Source: Wikisource

Portrait of Hippolyte Taine Hippolyte Taine Art in the Netherlands — Chapter IV. (1874)

It exacts and provokes the representation of man as he is and life as it is, both as the eye encounters them, citizens, peasants, cattle, shops, taverns, rooms, streets and landscapes. There is no need to transform them in order to ennoble them; they are satisfied if they are worthy of interest. Nature, in herself, whatever she may be, whether human, animal, vegetable or inanimate, with all her irregularities, minutiae and omissions, is inherently right, and, when comprehended, people love and delight to contemplate her. The object of art is not to change her, but to interpret her
Source: Wikisource

Portrait of Hippolyte Taine Hippolyte Taine Art in the Netherlands — Chapter IV. (1874)

In ten years after the commencement of the eighteenth century all the great painters are dead. Already for a generation a decline is manifest in the impoverished style, in the more limited imagination and in more minute finish of Franz Mieris, Schalcken, and the rest. One of these, Adrian Van der Werf, in his cold and polished painting, his mythologies and nudities, his ivory carnations, his impotent return to the Italian style, bears witness to the Dutch oblivion of native tastes and its own peculiar genius. His successors resemble men who attempt to speak with nothing to say
Source: Wikisource

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