human face, the
turned head, bent body, or outstretched hand. His people have
character, dignity, and a pervading feeling that they are the great
types of the Dutch race--people of substantial physique, slow in
thought and impulse, yet capable of feeling, comprehending, enjoying,
suffering.

His landscapes, again, were a synthesis of all landscapes, a grouping
of the great truths of light, air, shadow, space. Whatever he turned
his hand to was treated with that breadth of view that overlooked the
little and grasped the great. He painted many subjects. His earliest
work dates from 1627, and is a little hard and sharp in detail and
cold in coloring. After 1654 he grew broader in handling and warmer in
tone, running to golden browns, and, toward the end of his career, to
rather hot tones. His life was embittered by many misfortunes, but
these never seem to have affected his art except to deepen it. He
painted on to the last, convinced that his own view was the true one,
and producing works that rank second to none in the history of
painting.

Rembrandt's influence upon Dutch art was far-reaching, and appeared
immediately in the works of his many pupils. They all followed his
methods of handling light-and-shade, but no one of them ever equalled
him, though they produced work of much merit. Bol (1611-1680) was
chiefly a portrait-painter, with a pervading yellow tone and some
pallor of flesh-coloring--a man of ability who mistakenly followed
Rubens in the latter part of his life. Flinck (1615-1660) at one time
followed Rembrandt so closely that his work has passed for that of the
master; but latterly he, too, came under Flemish influence. Next to
Eeckhout he was probably the nearest to Rembrandt in methods of all
the pupils. Eeckhout (1621-1674) was really a Rembrandt imitator, but
his hand was weak and his color hot. Maes (1632-1693) was the most
successful manager of light after the school formula, and succeeded
very well with warmth and richness of color, especially with his reds.
The other Rembrandt pupils and followers were Poorter (fl. 1635-1643),
Victoors (1620?-1672?), Koninck (1619-1688), Fabritius (1624-1654),
and Backer (1608?-1651).

Van der Helst (1612?-1670) stands apart from this school, and seems to
have followed more the portrait style of De Keyser. He was a
realistic, precise painter, with much excellence of modelling in head
and hands, and with fine carriage and dignity in the figure. In
composition h