See also:

• DOUW (or Dow), GERHARD (1613168o)

DOUW (or See also:

• DOW, LORENZO (1777-1834)
• DOW, NEAL (1804-1897)

Dow), See also:

• GERHARD
• GERHARD, FRIEDRICH WILHELM EDUARD (1795-1867)

GERHARD (1613168o)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LEIDEN

Leiden on the 7th of See also:

• APRIL

April 1613 . His first instructor in See also:

• DRAWING

drawing and See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design was See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew Dolendo, an engraver;and he afterwards learned the See also:

• ART

art of See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass-See also:

• PAINTING

painting under Pieter Kouwhoorn . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of fifteen he became a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• REMBRANDT (1606-1669)

Rembrandt, with whom he continued for three years . From the See also:

• GREAT

great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the Flemish school he acquired his skill in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour,: See also:

• ING

ing, and in the more subtle effects of See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro; and the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of Rembrandt is reflected in several of his earlier pictures, notably in a portrait of himself at the age of twenty-two, in the See also:

• BRIDGE

Bridge-See also:

• WATER

water See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, and in the " See also:

• BLIND, MATHILDE (1841—1896)

Blind See also:

• TOBIT, THE BOOK OF

Tobit going to meet his Son," at Wardour See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle . At a comparatively See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early point in his career, however, he had formed a manner of his own distinct from, and indeed. in some respects antagonistic to, that of his master . Gifted with unusual clearness of See also:

• VISION (from Lat. videre, to see), or SIGHT

vision and precision of manipulation, he cultivated a See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute and elaborate style of treatment ; and probably few painters ever spent more See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and pains on all the details of their pictures down to the most trivial . He is said to have spent five days in painting a See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand; and his See also:

• WORK

work was so See also:

• FINE

fine that he found it necessary to manufacture his own brushes . Notwithstanding the minuteness of his See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, how-ever, the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general effect was harmonious and See also:

• FREE

free from stiffness, and his colour was always admirably fresh and transparent . He was fond of representing subjects in See also:

• LANTERN (an adaptation of the Fr. lanterne from Lat. lanterna or laterna, supposed to be from Gr. Aa urritp, a torch or lamp, Aaµaew, to shine, cf. " lamp "; the 16th- and 17th-century form " lanthorn " is due to a mistaken derivation from " horn," as a m

lantern or See also:

• CANDLE (Lat. candela, from candere, to glow)

candle See also:

• LIGHT

light, the effects of which he reproduced with a fidelity and skill which no other master has equalled . He frequently painted by the aid of a See also:

• CONCAVE

concave See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror, and to obtain exactness looked at his subject through a See also:

• FRAME

frame crossed with squares of See also:

• SILK

silk See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread . His practice as a portrait painter, which was at first considerable, gradually declined, sitters being unwilling to give him the time that he deemed necessary . His pictures' were always small in See also:

• SIZE

size, and represented chiefly subjects in still See also:

• LIFE

life .

Upwards of zoo are attributed to him, and specimens are to be found in most of the great public collections of See also:

• EUROPE

Europe . His chef-d'ceuvreis generally considered to be the " Woman sick of the See also:

• DROPSY (contracted from the old word hydropisy, derived from the Gr. 154w¢; i Swp, water, and appearance)

Dropsy," in the Louvre . The " Evening School," in the See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam gallery, is the best example of the candlelight scenes in which he excelled . In the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, favourable specimens are to be seen in the " Poulterer's See also:

• SHOP

Shop," and a portrait of himself . See also:

• DOUW (or Dow), GERHARD (1613168o)

Douw's pictures brought high prices, and it is said that See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

President See also:

• VAN

Van Spiring of the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague paid him l000 florins a See also:

• YEAR

year simply for the right of pre-emption . Douw died in 1680 . His most celebrated pupil was See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis See also:

• MIERIS

Mieris .