The celebrated _Wolf Hunt_, in the collection of Lord Ashburton, was one of the earliest, painted in 1612 for the Spanish General Legranes only three years after Rubens's return from Italy. In this picture, his bold creative fancy and dramatic turn of mind are remarkably conspicuous--even at this early stage in his career. Catherine Brant, his first wife, on a brown horse, with a falcon in her hand, is near her husband; a second huntsman on horseback, three on foot, another old wolf and three young ones, with several dogs, complete the composition, which is most carefully painted in a clear and powerful tone throughout.

Of scenes of peasant life, one of his earliest, and yet the most famous, is the _Kermesse_, which is now in the Louvre. A boisterous, merry party of about seventy persons are a.s.sembled in front of a country ale-house; several are wildly dancing in a circle, others are drinking and shouting; others, again, are making love.

_The Garden of Love_, equally famous, was one of Rubens's latest pictures. Of this there are several versions in existence, of which those at Dresden and Madrid may be considered as originals. Several loving couples in familiar conversation are lingering before the entrance of a grotto, the front of which is ornamented with a rustic portico. Amongst them we recognise the portraits of Rubens and his second wife, his pupil Van Dyck, and Simon de Vos.

As Rubens united to such great and various knowledge the disposition to communicate it to others in the most friendly and candid manner, it was natural that young painters of talent who were admitted into his atelier should soon attain a high degree of skill and cultivation.

At "the House in the Wood," not far from the Hague, there is a salon decorated entirely by the pupils of Rubens. The princ.i.p.al picture, which is one of the largest oil paintings in the world, is by Jacob Jordaens, and represents the triumph of Prince Frederick Henry--the object of the whole scheme being the glorification of the House of Orange, in 1649.

Most of the other pictures are of Theodore van Thulden, who in these works has emulated his ill.u.s.trious master in the force and brilliance of his colouring.

But it is not in any particular salon or palace that we must look for the effects of Rubens' influence; it was far wider than to be able to be contained within four walls. In portraiture he gave us Van Dyck; in historical subjects, Jacob Jordaens; in animal painting and still life, Frans Snyders, Jan Fyt, and the brothers Weenix. In pictures of everyday life he gave us Adrian Brouwer and David Teniers; in landscape, Everdingen, Ruisdael and Waterloo. "Thus was the art of painting in the Netherlands remodelled in every department," says Waagen in the concluding sentence of his memoir, "by the energies of a single great and gifted mind. Thus was Rubens the originator of its second great epoch, to which we are indebted for such numerous and masterly performances in every branch of the art."

III

THE PUPILS OF RUBENS

DAVID TENIERS the elder, who was born at Antwerp in 1582, received the first rudiments of his art from Rubens, who soon perceived in him the happy advances towards excelling in his profession that raised him to the head of his school. The prejudice in favour of his son, David Teniers the younger, is so great that the father is generally esteemed but a middling painter; and his pictures not worth the inquiry of a collector. His hand is so little distinguished, however, that the paintings of the father are often taken for those of the son. The father was certainly the inventor of the manner, which the son, who was his pupil, only improved with what little was wanting to perfection.

Rubens was astonished at his early success, and though he followed the manner of Adrian Brouwer, looked on him as his most deserving pupil by the brightness of genius that he showed. He soon saved enough money to undertake the journey to Italy, and when at Rome he established himself with Adam Elsheimer, who was then in great vogue. In Elsheimer's manner he soon became a perfect master, without neglecting at the same time the study of other and greater masters, endeavouring to penetrate into the deepest mysteries of their practice. An abode of ten years in Italy, and the influence of Elsheimer combined with that of Rubens, formed him into what he became.

When he returned to his own country he employed himself entirely in painting small pictures filled with figures of people drinking and merry-making, and numbers of peasants and country women. He displayed so much taste in these that the demand for them was universal. Even Rubens thought them an ornament to his collection.

Teniers drew his own character in his pictures, and in the subjects he usually expressed everything tends to joy and pleasure. Always employed in copying after nature whatsoever presented itself, he taught his two sons, David and Abraham, to follow his example, and accustomed them to paint nothing but from that infallible model, by which means they both became excellent painters. These were his only disciples, and he died at Antwerp in 1649.

The only distinction between his works and those of his son, David Teniers the younger, is that in the latter you discover a finer touch, a fresher brush, a greater choice of att.i.tudes, and a better disposition of the figures. The father, too, retained something of the tone of Italy in his colouring, which was stronger than his son's; but his pictures have less harmony and union--though to tell the truth, when the father took pains to finish his picture, he very nearly resembled his son.

The latter, DAVID TENIERS the younger, was born in 1610. He was nicknamed the Ape of painting, from his powers of imitation. The Archduke Leopold William made him a gentleman of his bedchamber, and he made copies of all his pictures. He came to England to buy several Italian pictures for Count Fuensaldegna, who on his return heaped favours upon him. Don John of Austria and the King of Spain set so great a value upon his pictures that they built a gallery set apart to preserve them--there are no less than fifty-two in the Prado Gallery to-day.

His princ.i.p.al talent was landscape adorned with small figures. He painted men drinking and smoking, alchemists, corps de garde, temptations of S. Anthony, and country fairs and merry-makings. His small pictures are superior to his large ones. His execution displays the greatest ease; the leafing of his trees is light, his skies are admirable: his small figures have an exquisite expression and a most lively touch, and the characters are marked out with the greatest truth.

From the thinness of the colours his works seem to have been finished at once; they are generally clear in all their parts, and Teniers had the art, without dark shades, to relieve his lights by other lights, so well managed as to produce the effect he wanted, an art which few besides himself have attained. He died at Antwerp in 1694.

FRANS SNYDERS was born at Antwerp in the year 1587, ten years later, that is to say, than Rubens. He received his first instruction in the art of painting from Henry van Balen. His genius at first displayed itself only in painting fruit. He afterwards attempted animals, in which kind of study he succeeded so well that he surpa.s.sed all that had ever excelled before him. He stayed for some time in Italy, and the works he met with there by Castiglione proved a spur to his genius to attempt outdoing him in painting animals. When he returned to Flanders he fixed his ordinary abode at Brussels, where he was made painter to the Archduke and d.u.c.h.ess, and became attached to the house of Spain.

Twenty-two of his pictures are in the Prado Gallery.

When Snyders required large figures in his compositions both Rubens and Jordaens took pleasure in a.s.sisting him, and Rubens in turn borrowed the a.s.sistance of Snyders to paint the ground of his pictures; thus they mutually a.s.sisted each other in their labours, while Snyders' manly and vigorous manner was quite able to hold its own even when joined with that of the great master.

ANTHONY VAN DYCK was born at Antwerp in 1599, less than three months before Velasquez at Seville. Both became so famous in their capacity of Court painters that the rest of their achievement is popularly regarded as little more than a bye-product.

In the case of Van Dyck there is the more excuse for the English public, inasmuch as, like Holbein before him, he was exclusively employed while in this country in the production of portraits; and as "his works are so frequent in England," as Horace Walpole observes in the opening sentence of his memoir in the "Anecdotes of Painting," "that the generality of our people can scarce avoid thinking him their countryman," it is easy enough to forget that he only spent the last nine years of his life here.

Again, the insatiable craze of the English and American public for portraits has helped to obscure the extent of Van Dyck's capabilities in other directions, and while the National Gallery contains not a single subject-piece from his hand, more and more thousands are continually spent in the acquisition of more and more portraits. The bewitching _Cupid and Psyche_ in Queen Mary's closet at Hampton Court, painted a year before his death, is scarcely known to exist!

At the same time it would be useless to deny that Van Dyck's princ.i.p.al claim to his place among the greatest masters rests chiefly upon portraiture. The point I wish to make is that portrait painting never yet made a great master, but that none but a great master ever became a great portrait painter; and so long as we are only permitted to see the particular achievement of the artist in our public galleries, so long is it likely that we shall continue to be flooded with mediocre likenesses of fashionable people by painters whose highest or whose only achievement they const.i.tute. Anyone can write a "short story" for the cheaper sort of modern journal; only writers like Hardy, Stevenson, or Kipling can give us a masterpiece in little.

It was said that Rubens advised Van Dyck to devote himself to portraiture out of jealousy: but that is hardly in accordance with what we know of his generous nature. If the advice was given at all we may be sure that it was given in a friendly spirit. But there was something in the temperament of Van Dyck which peculiarly fitted him for the Court, apart from any question as to his excellence in any particular branch of his art, and it is evident that the personality of Rubens, and his connection with the rich and mighty of the earth, influenced him almost as much as did his art. How much he owed to Rubens, and how much Rubens owed to him in painting is a matter that is arguable. He had been several years with Van Balen before he entered the studio of Rubens, when eighteen years old, not as a pupil but as an a.s.sistant. Here he not only had the practical task of painting Rubens's compositions for him, in company with numerous others, but had also the advantage of studying the works of t.i.tian and other of the great Italian masters in Rubens's famous collection. If the hand of Van Dyck is traceable in some of the pictures of Rubens at this period, so the spirit of Rubens is very obvious in those of Van Dyck. The chief thing to be remembered is that in these early days he was not painting portraits. His earliest works, in which the influence of t.i.tian is perceptible as well as that of Rubens, are the _Christ bearing the Cross_, in S. Paul's at Antwerp, painted in 1618; the _S. Sebastian_ at Munich, and the _Christ Mocked_, at Berlin. The familiar portrait of _Cornelius van der Geest_ in the National Gallery, is one of his very earliest, probably before 1620.

Again, on his first visit to Genoa, in 1621, on the advice of Rubens, his ambition was not to paint portraits, as on his second visit some years later, but to rival Rubens in the composition of great historical pieces. It was not until 1627, when he left behind him in Genoa the superb series of Balbi, Brignole-Sala, Cattaneo, and Lomellini portraits, and returned to Antwerp to undertake those such as the _Le Roys_ at Hertford House, or the _Beatrice de Cusance_ at Windsor, that he had really become a portrait painter. Even then, he was still determined not to yield to Rubens at Antwerp, and painted, amongst other subjects, the _Rinaldo and Armida_ for Charles I. It was only at the solicitation of George Geldorp, a schemer as well as a painter, that he consented at length, in 1632, to come to England; and it was only the welcome afforded to him by Charles that induced him to settle here.

Two considerations of personal vanity may be suggested as actuating Charles to be specially indulgent to Van Dyck--an indulgence of which the results posterity should not omit to credit to the sad account of the martyr--first, that his father had failed to retain the painter in his service, and second, that Velasquez, who had made a sketch of him on his mad visit to Madrid in 1623, was then immortalising Philip.

Velasquez being out of the question, why not Van Dyck! An excellent idea! Especially when instead of dwarfs, buffoons, and idiots, the English Court contained some exceedingly fine material besides the royal family for the artist to exercise his talent upon.

After this, Flanders knew Van Dyck no more, save for a year or two's sojourn from 1633-1635 when he painted one or two magnificent portraits, and then returned to England, where he died in 1641. With the death of Rubens the year before, Flemish painting had suffered another eclipse; and though Snyders lived till 1657, and Jordaens and the younger Teniers continued till late in the century, no fresh seedlings appeared, and the soil again became barren. Rubens and Van Dyck were both too big for the little garden--their growth overspread Europe.

_DUTCH SCHOOL_

I

Frans Hals

Meantime we must turn our attention to Holland, where FRANS HALS, who was born only three years later than Rubens, namely in 1580, was the forerunner of Rembrandt, Van der Helst, Bol, Lely, and a host more of greater or less painters, who made their country as famous in the seventeenth century for art as their fathers had made it in the sixteenth for arms. Without going into the complications of the political history of the Netherlands at this period, it is important nevertheless to remember that while the Flemish provinces remained Catholic under Spain, the northern states, after heroic struggles, formed themselves into a Republic; so that while it is difficult to draw a hard and fast line between what was Dutch and what was Flemish in estimating the influence of one particular painter upon another, there is no question at all as to vital difference between the conditions which led to the production of the pictures of the two schools. The Flemish pictures were for the Church and for the Court, the Dutch for the house, the Guildhall, or the bourgeoisie. The former were aristocratic, the latter democratic. Rubens and Van Dyck were aristocrats, Hals and Rembrandt democrats. Rubens painted altar-pieces, for the great churches or cathedrals or for the chapels of his patrons.

Rembrandt painted Bible stories for whoever would purchase them. Van Dyck painted the portraits of kings and n.o.bles. Hals painted the rough soldiers and sailors, singly, or in the great groups into which they formed themselves as Guilds. For the first time in the history of painting, neither Church nor Court were its patrons.

In any age or under any circ.u.mstances Frans Hals would have seemed a remarkable painter, but to measure his extraordinary genius to its full height we must try to realise what those times and those circ.u.mstances were. In Florence and Venice, as we have seen, there were great schools of painting, and in Florence especially, the whole city existed in an atmosphere of art. There was no escape from it. In Haarlem, where Hals spent his youth (he was born in Antwerp), there was no such state of affairs. There were no chapels to be decorated, no courtiers to be flattered. The country was seething with the effects of war, and the whole population were ready for it again at a moment's notice. There were plenty of heroes--every man was one--but not of the romantic sort.

They were all bluff, hardy fellows, who wanted to get on with their business. Who would have thought that they wanted to have their portraits painted? And who, accordingly, could have induced them to do so except a bluff, roystering genius like Hals, who slashed them down on canvas before they had time to stop him? Once it got wind that Hals was such a good fellow, and that he dashed off a portrait to the life in as little time as it took to pa.s.s the time of day with him, he had plenty of business, and from painting single portraits he was commissioned to glorify the Guilds by depicting their banquets, which he did with almost as much speed and considerably more fidelity than the limelight man at a City dinner in these times. His first great group--_The Archers of S. George_, at Haarlem--has all the appearance of being painted instantaneously as the banqueters stood around the table before dispersing.

When we think of the cultured Rubens, brought up in the atmosphere of Courts, and studying for years among the finest paintings and painters in Italy, and compare him with this low, ignorant fellow, who had never been outside the Netherlands, do we not find his genius still more amazing? Nowadays we see a portrait by Hals surrounded with the finest works of the greatest painters in all times and in all lands, and see how well it stands the comparison. But our admiration must be increased a hundredfold, when we know that he was without any of the training or tradition of a great artist, and that it must have been by sheer character and genius alone that he forced his art upon his commercial, though heroic public.

One thing especially it is interesting to notice about the Dutch portraits of the early Republican period, namely, that they are obviously inspired by the pleasure of having a living, speaking likeness rather than by pride and ostentation. Bluff and swaggering as some of Hals's portraits of men appear to be--notably _The Laughing Cavalier_, at Hertford House--that is only because the subjects were bluff and swaggering fellows--swaggering, that is to say, in the consciousness of their ability and their readiness to defend their country and their homes again, if need be, against the tyrant. But these swaggerers are the exception, and the prevailing impression conveyed is that of honest, if determined, bluffness. They are not posing, these jolly Dutchmen, they are sitting or standing, for Hals to paint them just as they would sit or stand to be measured for a suit of clothes. Look at the heads of the man and the woman in the National Gallery. Could anything be more natural and una.s.suming? Look at the _Laughing Cavalier_, and ask if it is not the man himself, as Hals saw and knew him, not a faked up hero? Hals caught him in his best clothes, that is all. He did not put them on to be painted in--he was out on a jaunt.

Look at Hals's women, how pleased they are to be painted, just as they are.

Poor Hals, he was a good, honest fellow, though sadly given to drink and low company. But for sheer genius he has never had an equal. The vast number of his paintings--many of which now only exist in copies--shows that with every predilection to ease and comfort, he could not help painting--it simply welled out of him. It was a natural gift which seems to have needed no labour and no study.

It is certain that this fecundity was a very potent factor in the development of the Dutch School of painting. Had Hals confined his talent to painting the portraits of the highest in the land, which would never have been seen by the public at large, it is improbable that such a business-like community would have produced many painters. But Hals must have popularised painting much more than we generally suppose. An example occurs to me in the picture of _The Rommelpot Player_, of which no less than thirteen versions are enumerated by De Groot, none of which can claim to be the original. One is at Wilton, another in Sir Frederick Cook's gallery at Richmond, and a third at Arthingworth Hall in Northamptonshire.

[Ill.u.s.tration: PLATE XXV.--FRANS HALS

PORTRAIT OF A LADY

_Louvre, Paris_]

The subject is an old beggar man playing in front of the door of a cottage on a ridiculous instrument consisting of an earthen pot covered over like a jampot with a lid of parchment, on which he makes a rude noise with a stick, to the intense delight of a group of children. A picture like this, then, it is evident, instead of hanging in solitary confinement in the house of a great person, was so widely popular that it was copied on all sides, and must have been seen by thousands of people.

Next to Hals, in point of time, was HENDRIK GERRITZ POT, who was born, probably at Haarlem, in 1585. It is to him rather than to Ostade, who was a quarter of a century later, that we must trace the origin of smaller _genre_ pictures of the Dutch School which in later years became its princ.i.p.al product. Pot's works are neither very important nor very numerous, but as a portrait painter he is represented in the Louvre by a portrait of Charles I., which was probably painted when he was in England in 1631 or thereabouts; while at Hampton Court is a beautiful little piece by him which is catalogued under the t.i.tle of _A Startling Introduction_. This belonged to Charles I., for his cypher is branded on the back of the panel on which it is painted, and it was sold by the Commonwealth as "a souldier making a strange posture to a Dutch lady by Bott." The painter's monogram H.P. appears on the large chimney piece before which the "soldier" is standing.

GERARD HONTHORST, born at Utrecht in 1590, can hardly be said to belong to the Dutch School at all. When he was only twenty he went to Rome, where his devotion to painting effects of candle-light earned him the sobriquet of "Gherardo della Notte." In 1628 he was elected Dean of the Guild of St. Luke at Utrecht, but he was in no sense a national painter, and neither took nor gave anything in the way of national influence. He was in England for a few months in 1628, to which chance we are indebted for the picture of the Duke of Buckingham and his family which is in the National Portrait Gallery, and another group of the Cavendish family which is at Chatsworth. Pictures of the n.o.bility, or of celebrities like Harvey, the discoverer of the circulation of the blood, were more in his line than those of his republican patriots, and consequently he plays no part in the development of the school we are now considering.

BARTHOLOMEW VAN DER HELST, born in Amsterdam, 1613, died there 1670. He is by far the most renowned of the Dutch portrait-painters of this period. Although nothing is known as regards the master under whom he studied, it is probable that if Hals was not actually his teacher, his works were the models whence Van der Helst formed himself. We see this in the portrait of Vice-Admiral Kortenaar at Amsterdam, where the conception of forms, and the unsc.u.mbled character of the strokes of the brush, recall Hals. The same may be observed in two larger pictures with archers in the Town Hall at Haarlem, where the inartistic arrangement and monotony of the otherwise warm flesh tones point to the earlier time of the painter. By about the year 1640 his character was more fully developed. His arrangement of portrait-pieces with numerous figures became very artistic and easy, his tone excellent, and his drawing masterly. This standard of excellence he retained till about 1660. The following are princ.i.p.al pictures of this period:--A scene from the Archery Guild of Amsterdam in 1639, including thirty figures. The celebrated picture inscribed 1648, an Archery Festival commemorating the Peace of Westphalia, and consisting of a party of twenty-four persons, at Amsterdam. The chief charm of this work consists in the strong and truthful individuality of every part, both in form and colour; in the capital drawing, which is especially conspicuous in the hands; in the powerful and clear colouring; and finally, in a kind of execution which observes a happy medium between decision and softness. In 1657 he executed the picture of the Archery Guild known by the name "het Doelenstuck" at Amsterdam Gallery. This work represents three of the overseers of the Guild, with golden prize vases, and a fourth supposed to be the painter himself. It is almost surpa.s.sed by a replica on a smaller scale executed in the following year, which is now in the Louvre. At all events, this picture is in better preservation, and offers one of the most typical examples of portrait-painting that the Dutch School produced.