Author Description

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1901 Excerpt:... ages and ages the foster-mother of Dutch art. From my conversation with Martens, and after having seen his later work, I could notice the influence which his sojourn in Paris had had upon him. He brought away only that which was good and could be useful to him: pleasant cultivated manners; a distinguished air, which however does not exclude friendliness; fluency and correct pronunciation of the French language and a thorough knowledge of foreign art. In colouration he is completely and entirely Dutch, this he appears to have learnt since his return to his own country about eight years ago. But when he paints a portrait his French education rises to the top and his style is perfect Parisian. We see it in the elegant pose of his sitter, in the graceful outline of the f1gure, in the harmony between light and shade, all these qualities go to make Martens a specialist in portrait painting. I can quote a very charming picture which will prove my statement. It represents a beautiful young woman in evening dress, sitting near a table: the graceful pose is striking. The dress is white satin, of the purest tone, and contrasting well with the soft fleshy tints of the neck and arms, a dark mantle is thrown over the chair and the back ground harmonizes with the whole. All the detail is done in masterly style, and yet it does not attract the notice too much, for the sweet face, with its finely cut features and the carnation on the cheeks, to say nothing of the kind look A study ia chalks, in the pretty eyes, dominates the canvas. This portrait I consider a harmonizing sympathy in tender tones. It was painted in Paris at the time when he was living in a little country house at Nanterre, in the neighbourhood of St. Germain and Marley. The years that he had behind his back...