GERBRAND See also:

• VAN

VAN DEN See also:

• GERBRAND VAN DEN EECKHOUT (1621-1694)

EECKHOUT (1621-1694)  , Dutch painter, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam on the 19th of See also:

• AUGUST (originally Sextilis)

August 1621, entered See also:

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

early into the studio of See also:

• REMBRANDT (1606-1669)

Rembrandt . Though a See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion 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 to F . Bol and Govaert Flinck, he was inferior to both in skill and in the extent of his practice; yet at an early See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period he assumed Rembrandt's manner with such success that his pictures were confounded with those of his 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; and, even in See also:

• MODERN

modern days, the " Resurrection of the Daughter of Jairus," in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin museum, and the " Presentation in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple," in the See also:

• DRESDEN

Dresden See also:

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

gallery, have been held to represent worthily 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 . As See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of the fidelity of See also:

• EECKHOUT, GERBRAND VAN DEN (1621-1694)

Eeckhout's See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation we may cite his " Presentation in the Temple," at Berlin, which is executed after Rembrandt's See also:

• PRINT

print of 163o, and his " See also:

• TOBIT, THE BOOK OF

Tobit with the See also:

• ANGEL

Angel," at See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick, which is composed on the same background as Rembrandt's " Philosopher in Thought." Eeckhout not merely copies the subjects; he also takes the shapes, the figures, the Jewish See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress and the pictorial effects of his master . It is difficult to See also:

• FORM (Lat. forma)

form an exact See also:

• JUDGMENT

judgment of Eeckhout's qualities at the outset of his career . His earliest pieces are probably those in which he more faithfully reproduced Rembrandt's peculiarities . Exclusively his is a tinge of See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green in shadows marring the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of the See also:

• WORK

work, a certain gaudiness of jarring tints, See also:

• UNIFORM

uniform See also:

• SURFACE

surface and a 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 more See also:

• QUICK

quick than subtle . Besides the pictures already mentioned we should class amongst early productions on this See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account the Woman taken in See also:

• ADULTERY (from Lat. adulterium)

Adultery," at Amsterdam; " See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna presenting her Son to the High See also:

• PRIEST (Ger. Priester, Fr. pretre)

Priest," in the Louvre; the " See also:

• EPIPHANY, FEAST OF

Epiphany," at See also:

• TURIN

Turin; and the " See also:

• CIRCUMCISION (Lat. circum, round, and caedere, to cut)

Circumcision," at See also:

• CASSEL
• CASSEL, or KASSEL

Cassel . Eeckhout matriculated early in the Gild of Amsterdam . A likeness of a See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady at a dressing-table with a See also:

• STRING

string of beads, at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, bears the date of 1643, and proves that the master at this 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 possessed more imitative skill than genuine mastery over nature . As he See also:

• GREW, NEHEMIAH (1641-1712)

grew older he succeeded best in portraits, a very See also:

• FAIR

fair example of which is that of the historian Dappers (1669), in the Stadel collection . Eeckhout occasionally varied his style so as to recall in later years the " small masters " of the Dutch school .

See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen justly draws See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to his following of Terburg in " Gambling Soldiers,' at See also:

• STAFFORD
• STAFFORD, EARLS AND MARQUESSES OF

Stafford 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, and a " Soldiers' Merrymaking," in the collec, tion of the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of See also:

• BUTE
• BUTE, JOHN STUART, 3RD EARL OF (1713-1792)

Bute . A " Sportsman with Hounds," probably executed in 1670, now in the Vander Hoo gallery, and a " See also:

• GROUP

Group of See also:

• CHILDREN, LAW RELATING TO

Children with Goats " (1671), in the Hermitage, hardly exhibit a trace of the artist's first See also:

• EDUCATION

education . Amongst the best of Eeckhout's See also:

• WORKS

works " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ in the Temple " (1662), at See also:

• MUNICH (Ger. Munchen)

Munich, and the " Haman and Mordecai " of 1665, at See also:

• LUTON

Luton House, occupy a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . Eeckhout died at Amsterdam on the 22nd of See also:

• OCTOBER

October 1674 .