See also:

• JAN

JAN JOSEPHSZOON See also:

• VAN

VAN See also:

• JAN JOSEPHSZOON VAN GOYEN (1596-1656)

GOYEN (1596-1656)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LEIDEN

Leiden on the 13th of See also:

• JANUARY

January 1596, learned See also:

• PAINTING

painting under several masters at Leiden and See also:

• HAARLEM

Haarlem, married in 1618 and settled at the See also:

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

Hague about 1631 . He was one of the first to emancipate himself from the traditions of See also:

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

minute See also:

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

imitation embodied in the See also:

• WORKS

works of See also:

• BREUGHEL (or BRUEGIHEL), PIETER

Breughel and Savery . Though he preserved the dun See also:

• SCALE
• SCALE (1) A

scale of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone See also:

• PECULIAR

peculiar to those painters, he studied atmospheric effects in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white with considerable skill . He had much See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on Dutch See also:

• ART

art . He formed See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon See also:

• RUYSDAEL (or RUISDAAL), JACOB VAN (c. 1628-1682)

Ruysdael and Pieter See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter, forced See also:

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

attention from See also:

• REMBRANDT (1606-1669)

Rembrandt, and bequeathed some of his precepts to Pieter de Molyn, Coelenbier, Saftleven, See also:

• VAN

van der Kabel and even Berghem . His See also:

• LIFE

life at the Hague for twenty-five years was very prosperous, and he See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose in 164o to be See also:

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

president of his gild . A friend of van Dyck and See also:

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

Bartholomew van der See also:

• HELST, BARTHOLOMAEUS VAN DER

Helst, he sat to both these artists for his likehess . His daughter See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret married See also:

• JAN

Jan See also:

• STEEN, JAN HAVICKSZ (1626-1.679)

Steen, and he had steady patrons in the See also:

• STADTHOLDER (Du. stadhouder, a delegate or representative)

stadtholder See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry, and the chiefs of the See also:

• MUNICIPALITY

municipality of the Hague . He died at the Hague in 1656, possessed of See also:

• LAND

land and houses to the amount of 15,000 florins . Between 1610 and 1616 van See also:

• GOYEN, JAN JOSEPHSZOON VAN (1596-1656)

Goyen wandered from one school' to the other . He was first apprenticed to Isaak Swanenburgh; he then passed through the workshops of de See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man, Klok and de See also:

• HOORN

Hoorn . In 1616 he took a decisive step and joined Esaias van der Velde at Haarlem; amongst his earlier pictures, some of 1621 (See also:

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

Berlin Museum) and 1623 (See also:

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

Brunswick See also:

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

Gallery) show the influence of Esaias very perceptibly .

The landscape is minute .. Details of branching and foliage are given, and thefigures are important in relation to the distances . After 1625 these peculiarities gradually disappear . Atmospheric effect in landscapes of cool tints varying from See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey 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 to See also:

• PEARL
• PEARL, THE

pearl or See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown and yellow dun is the See also:

• PRINCIPAL

principal See also:

• OBJECT

object which van Goyen holds in view, and he succeeds admirably in See also:

• LIGHT

light skies with drifting misty See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud, and See also:

• DOWNS

downs with cottages and scanty shrubbery or stunted trees . Neglecting all detail of foliage he now works in a thin diluted See also:

• MEDIUM

medium, laying on rubbings as of See also:

• SEPIA (Gr. a iria, cuttlefish)

sepia or See also:

• INDIAN

Indian See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, and See also:

• FINISHING

finishing without loss of transparence or lucidity . Throwing his foreground into darkness, he casts alternate light and shade upon the more distant planes, and realizes most pleasing views of large expanse . In buildings and See also:

• WATER

water, with See also:

• SHIPPING

shipping near the See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks, he sometimes has the strength if not the See also:

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

colour of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• CUYP

Cuyp . The defect of his See also:

• WORK

work is chiefly want of solidity . But even this had its See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm for van Goyen's contemporaries, and some 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 elapsed before Cuyp, who imitated him, restricted his method of transparent tinting to the foliage of foreground trees . Van Goyen's pictures are comparatively rare in See also:

• ENGLISH

English collections, but his work is seen to See also:

• ADVANTAGE

advantage abroad, and chiefly at the Louvre, and in Berlin, See also:

• GOTHA

Gotha, See also:

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

Vienna, See also:

• MUNICH (Ger. Munchen)

Munich and See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg . Twenty-eight of his works were exhibited together at Vienna in 1873 . Though he visited See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France once or twice, van Goyen chiefly confined himself to the scenery of See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland and the See also:

• RHINE (Lat. Rhenus, Ger. Rhein, Fr. Rhin, Dutch Rhyn, or Rijn)

Rhine .

Nine times from 1633 to 1655 he painted views of See also:

• DORDRECHT (abbreviated Dordt, or Dort)

Dordrecht . Nimeguen was one of his favourite resorts . But he was also fond of Haarlem and See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, and he did not neglect Arnheim or See also:

• UTRECHT
• UTRECHT, TREATY OF

Utrecht . One of his largest pieces is a view of the Hague, executed in 1651 for the municipality, and now in the See also:

• TOWN

town collection of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Most of his panels represent reaches of the Rhine, the Waal and the Maese . But he sometimes sketched the downs of See also:

• SCHEVENINGEN

Scheveningen, or the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea at the mouth of the Rhine and See also:

• SCHELDT (Fr. Escaut, Flem. Schelde)

Scheldt; and he liked to depict the See also:

• CALM

calm inshore, and rarely ventured upon seas stirred by more than a See also:

• CURLING
• CURLING, THOMAS BLIZARD (1811-1888)

curling See also:

• BREEZE

breeze or the swell of a coming See also:

• SQUALL

squall . He often painted See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter scenes, with See also:

• ICE (a word common to Teutonic languages; cf. Ger. Eis)

ice and skaters and sledges, in the See also:

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

style See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac van See also:

• OSTADE

Ostade . There are numerous varieties of these subjects in the 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's works from 1621 to 1653 . One See also:

• HISTORICAL

historical picture has been assigned to van Goyen—the " Embarkation of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles II." in the See also:

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

Bute collection . But this See also:

• CANVAS

canvas was executed after van Goyen's See also:

• DEATH

death . When he tried this See also:

• FORM (Lat. forma)

form of art he properly mistrusted his own See also:

• POWERS, HIRAM (1805-1873)

powers . But he produced little in See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership with his contemporaries, and we can only except the " Watering-See also:

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

place " in the gallery of Vienna, where the landscape is enlivened with horses and See also:

• CATTLE (Norman Fr. catel, from Late Lat. capitale, wealth or property, a word applied in the feudal system to movable property and particularly to live stock, and surviving in its wider meaning as " chattel " or " chattle ")

cattle by See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip Wouvermans .

Even Jan Steen, who was his son-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, only painted figures for one of his pictures, and it is probable that this piece was completed after van Goyen's death . More than 250 of van Goyen's pictures are known and accessible . Of this number little more than 70 are undated . None exist without the full name or See also:

• MONOGRAM (from Late Lat. monogramma, in Late Gr. µovoypaµµov, from µovos, single, ypaµµa, letter)

monogram, and yet there is no painter whose See also:

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

hand it• is easier to trace without the help of these adjuncts . An etcher, but a poor one, van Goyen has only bequeathed to us two very rare plates .