Other editions of book The Story of Dutch Painting

CHAPTER ITHE END OF THE OLD 'ON the 25th of October, 1555, Charles V abdi-I cated the imperial crown, ceding Spain and the Netherlands to his favorite son, Philip II. The ;vent proved to be the prologue of a drama, which in ts immediate aspects involved the decay of Spain and he growth of Holland, but in its wider significance was o be the beginning of a new era.For the modern world dates from the seventeenth cen-ury, and its pioneers were the Hollanders of that period. Practically everything that we recognize to-day as char-Lcteristic of the modern spirit in politics, religion, sci-ince, society, industry, commerce, and art has its prototype amid that sturdy people; being either the lause or the product of their struggle for independence md their self-development. Nor, in paying honor to the Dutch, need we attempt to suggest that they were the nventors of these characteristics. Most of the latter v^ere, so to say, in the air. In the progress of things theyTHE STORY OF DUTCH PAINTINGhad been evolved. But our debt to the Hollanders is that they attracted them and gave them practical application, and thus set the world upon a definite path of new progress. It is particularly with the newness of their art that we are here concerned, but we will try to study it in its relation to the material and mental environment of the nation itself, of whose newness it was so immediate a product and so manifest an expression.For it is in this way that the art of every country may be studied with most interest and profit. Although there will appear from time to time certain individual artists, whose genius cannot be satisfactorily correlated to its environment, but will indeed, as in the case of Rembrandt's, seem to be actually contradictory to it, yet even they can be more fully comprehended through the very contrast that they offer to the mass of their contemporaries, whose relation to their environment is readily discernible. Apropos of this customary connection between the artist and the spirit of his time, may be quoted that phrase of Richard Wagner's, that all great art is produced in response to a common and collective need on the part of the community. It may serve as an excellent touchstone for testing the quahty of this new Dutch art which we are to study, so let us for a moment examine its face value, leaving the fuller application of its meaning to all the subsequent pages of this book.In Wagner's mind great art, as he conceived it, stood out in clear contrast against a background of less art, of art which is produced in response to some more restricted impulse than that of a conmion and collective need of the people; for example, in catering to the whims of fashion.luch was the major part of the art of France produced 1 the last days before the Revolution. The great mass f the people were too abased by ill rule and exactions to ave any consciousness but that of hunger, any common oUective need but to fill their bellies. The only articu-ite demand to reach the artists was from the ephemeral w'arm of courtiers, sycophants, and, as we should say D-day, "grafters," who buzzed in splendor and profli-acy at court. For a moment the glamour of this life in-pired a great artist, Watteau, who, however, it is to be oted, was a foreigner. What he himself was he owed to •"landers. To him the glamour of the French court was ut a pageant, a spectacle passing before his eyes, leav-ig his heart and conscience untouched. When, however, rtists of French birth, reared in the home environment, ollowed in his steps, they revealed nothing of Watteau's iealistic detachment from the grossness of the theme, ut became purveyors to the shallow profligacy of their latrons. And to this day Van Loo, Boucher, and Fra-:onard have no place with other old masters in the hearts f the people; they are still the favorites of fashion. Nor ras it until the upheaval of the Revolution had precipi-ated the gathering consciousness of a common and ...

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ON the 25th of October, 1555, Charles V abdicated the imperial crown, ceding Spain and the Netherlands to his favorite son, Philip II. The event proved to be the prologue of a drama, which in its immediate aspects involved the decay of Spain and the growth of Holland, but in its wider significance was to be the beginning of a new era. For the modern world dates from the seventeenth century, and its pioneers were the Hollanders of that period. Practically everything that we recognize to-day as characteristic of the modern spirit in politics, religion, science, society, industry, commerce, and art has its prototype amid that sturdy people; being either the cause or the product of their struggle for independence and their self-development. Nor, in paying honor to the Dutch, need we attempt to suggest that they were the inventors of these characteristics. Most of the latter were, so to say, in the air. In the progress of things they had been evolved. But our debt to the Hollanders is that they attracted them and gave them practical application, and thus set the world upon a definite path of new progress. It is particularly with the newness of their art that we are here concerned, but we will try to study it in its relation to the material and mental environment of the nation itself, of whose newness it was so immediate a product and so manifest an expression. For it is in this way that the art of every country may be studied with most interest and profit. Although there will appear from time to time certain individual artists, whose genius cannot be satisfactorily correlated to its environment, but will indeed, as in the case of Rembrandt’s, seem to be actually contradictory to it, yet even they can be more fully comprehended through the very contrast that they offer to the mass of their contemporaries, whose relation to their environment is readily discernible. Apropos of this customary connection between the artist and the spirit of his time, may be quoted that phrase of Richard Wagner’s, that all great art is produced in response to a common and collective need on the part of the community. It may serve as an excellent touchstone for testing the quality of this new Dutch art which we are to study, so let us for a moment examine its face value, leaving the fuller application of its meaning to all the subsequent pages of this book. In Wagner’s mind great art, as he conceived it, stood out in clear contrast against a background of less art, of art which is produced in response to some more restricted impulse than that of a common and collective need of the people; for example, in catering to the whims of fashion. Such was the major part of the art of France produced in the last days before the Revolution. The great mass of the people were too abased by ill rule and exactions to have any consciousness but that of hunger, any common collective need but to fill their bellies. The only articulate demand to reach the artists was from the ephemeral swarm of courtiers, sycophants, and, as we should say to-day, “grafters,” who buzzed in splendor and profligacy at court. For a moment the glamour of this life inspired a great artist, Watteau, who, however, it is to be noted, was a foreigner. What he himself was he owed to Flanders. To him the glamour of the French court was but a pageant, a spectacle passing before his eyes, leaving his heart and conscience untouched. When, however, artists of French birth, reared in the home environment, followed in his steps, they revealed nothing of Watteau’s idealistic detachment from the grossness of the theme, but became purveyors to the shallow profligacy of their patrons. And to this day Van Loo, Boucher, and Fragonard have no place with other old masters in the hearts of the people; they are still the favorites of fashion.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Story of Dutch PaintingIn Wagner's mind great art, as he conceived it, stood out in clear contrast against a background of less art, of art which is produced in response to some more restricted impulse than that of a common and collective need of the people; for example, in catering to the whims of fashion.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.