There was nothing to
commend it. The lowest point of affectation had been reached.
NINETEENTH CENTURY: The Dutch painters, unlike the Belgians, have
almost always been true to their own traditions and their own country.
Even in decadence the most of them feebly followed their own painters
rather than those of Italy and France, and in the early nineteenth
century they were not affected by the French classicism of David.
Later on there came into vogue an art that had some affinity with that
of Millet and Courbet in France. It was the Dutch version of modern
sentiment about the laboring classes, founded on the modern life of
Holland, yet in reality a continuation of the style or _genre_
practised by the early Dutchmen. Israels (1824-) is a revival or a
survival of Rembrandtesque methods with a sentiment and feeling akin
to the French Millet. He deals almost exclusively with peasant life,
showing fisher-folk and the like in their cottage interiors, at the
table, or before the fire, with good effects of light, atmosphere, and
much pathos.
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