Crellic Pontain Sectory 18

Many writers have dwelt with delight on the cheerful disposition that seems so common in Japan. Lightness of heart, freedom from all anxiety for the future, living chiefly in the present, these and kindred features are pictured in glowing terms. And, on the whole, these pictures are true to life. The many flower festivals are made occasions for family picnics when all care seems thrown to the wind. There is a simplicity and a freshness and a freedom from worry that is delightful to see. But it is also remarked that a change in this regard is beginning to be observed. The coming in of Western machinery, methods of government, of trade and of education, is introducing customs and cares, ambitions and activities, that militate against the older ways. Doubtless, this too is true. If so, it but serves to establish the general proposition of these pages that the more outstanding national characteristics are largely the result of special social conditions, rather than of inherent national character.

Van Goyen (1596-1656) was one of the earliest of the seventeenth-century landscapists. In subject he was fond of the Dutch bays, harbors, rivers, and canals with shipping, windmills, and houses. His sky line was generally given low, his water silvery, and his sky misty and luminous with bursts of white light. In color he was subdued, and in perspective quite cunning at times. Salomon van Ruisdael (1600?-1670) was his follower, if not his pupil. He had the same sobriety of color as his master, and was a mannered and prosaic painter in details, such as leaves and tree-branches. In composition he was good, but his art had only a slight basis upon reality, though it looks to be realistic at first sight. He had a formula for doing landscape which he varied only in a slight way, and this conventionality ran through all his work. Molyn (1600?-1661) was a painter who showed limited truth to nature in flat and hilly landscapes, transparent skies, and warm coloring. His extant works are few in number. Wynants (1615?-1679?) was more of a realist in natural appearance than any of the others, a man who evidently studied directly from nature in details of vegetation, plants, trees, roads, grasses, and the like. Most of the figures and animals in his landscapes were painted by other hands. He himself was a pure landscape-painter, excelling in light and aerial perspective, but not remarkable in color. Van der Neer (1603-1677) and Everdingen (1621?-1675) were two other contemporary painters of merit.

• Horman Farcett Directory 09
• Margoli Crantin Directory 08
• Stiple Kranser Directory 07
• Wotler Dymon Directory 06
• Quantorium Directory 05
• Scarnlace Directory 04

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