ing classes, founded on the modern life of
Holland, yet in reality a continuation of the style or _genre_
practised by the early Dutchmen. Israels (1824-) is a revival or a
survival of Rembrandtesque methods with a sentiment and feeling akin
to the French Millet. He deals almost exclusively with peasant life,
showing fisher-folk and the like in their cottage interiors, at the
table, or before the fire, with good effects of light, atmosphere, and
much pathos. Technically he is rather labored and heavy in handling,
but usually effective with sombre color in giving the unity of a
scene. Artz (1837-1890) considered himself in measure a follower of
Israels, though he never studied under him. His pictures in subject
are like those of Israels, but without the depth of the latter.
Blommers (1845-) is another peasant painter who follows Israels at a
distance, and Neuhuys (1844-) shows a similar style of work. Bosboom
(1817-1891) excelled in representing interiors, showing, with much
pictorial effect, the light, color, shadow, and feeling of space and
air in large cathedrals.

[Illustration: FIG. 86.--MAUVE. SHEEP.]

The brothers Maris have made a distinct impression on modern Dutch
art, and, strange enough, each in a different way from the others.
James Maris (1837-) studied at Paris, and is remarkable for fine,
vigorous views of canals, towns, and landscapes. He is broad in
handling, rather bleak in coloring, and excels in fine luminous skies
and voyaging clouds. Matthew Maris (1835-), Parisian trained like his
brother, lives in London, where little is seen of his work. He paints
for himself and his friends, and is rather melancholy and mystical in
his art. He is a recorder of visions and dreams rather than the
substantial things of the earth, but always with richness of color and
a fine decorative feeling. Willem Maris (1839-), sometimes called the
"Silvery Maris," is a portrayer of cattle and landscape in warm
sunlight and haze with a charm of color and tone often suggestive of
Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a
fine painter of marines and sea-shores, and Mauve (1838-1888), a
cattle and sheep painter, with nice sentiment and tonality, whose
renown is just now somewhat disproportionate to his artistic ability.
In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner,
Witsen, Haverman, Weissenbruch.

EXTANT WORKS: Generally speaking the best examples of the
Dutch schools are