See also:

• JAN

JAN See also:

• VAN

VAN See also:

• JAN VAN HUYSUM (1682–1749)

HUYSUM (1682–1749)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam in 1682, and died in his native See also:

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

city on the 8th of See also:

• FEBRUARY

February 1749 . He was the son of Justus See also:

• VAN

van See also:

• HUYSUM, JAN VAN (1682–1749)

Huysum, who is said to have been expeditious in decorating doorways, screens and vases . A picture by this artist is preserved in the See also:

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

gallery of See also:

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

Brunswick, representing See also:

• ORPHEUS

Orpheus and the Beasts in a wooded landscape, and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind; for See also:

• JAN

Jan van Huysum, though skilled as a painter of still See also:

• LIFE

life, believed himself to possess the See also:

• GENIUS (from Lat. genere, gignere)

genius of a landscape painter . See also:

• HALF

Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods of tall and motionless trees—the whole very glossy and smooth, and entirely lifeless . The earliest dated See also:

• WORK

work of this kind is that of 1717, in the Louvre, a See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

grove with maidens culling See also:

• FLOWERS, ARTIFICIAL

flowers near a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb, ruins of a See also:

• PORTICO (Ital. for " porch," Lat. porticus)

portico, and a distant See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace on the shores of a See also:

• LAKE
• LAKE, GERARD LAKE, 1ST VISCOUNT (1744-1808)

lake bounded by mountains . It is doubtful whether any artist ever surpassed van Huysum in representing See also:

• FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit and flowers . It has been said that his fruit has no savour and his flowers have no perfume—in other words, that they are hard and artificial—but this is scarcely true . In substance fruit and See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower are delicate and finished imitations of nature in its more subtle varieties of See also:

• MATTER

matter . The fruit has an incomparable blush of down, the flowers have a perfect delicacy of See also:

• TISSUE (Fr. tissu, tissue, participle of tisser, Lat. texere, to weave)

tissue . Van Huysum, too, shows supreme See also:

• ART

art in relieving flowers of various See also:

• COLOURS, MILITARY

colours against each other, and often against a See also:

• LIGHT

light and transparent background . He is always See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright, sometimes even See also:

• GAUDY

gaudy . See also:

• GREAT

Great See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste and much See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and elegance are apparent in the arrangement of bouquets and fruit in vases adorned with has reliefs or in baskets on See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble tables .

There is exquisite and faultless finish every-where . But what van Huysum has not is the breadth, the bold effectiveness, and the See also:

• DEPTH

depth of thought of de See also:

• HEEM, JAN DAVIDSZ VAN (or JOHANNES DE)

Heem, from whom he descends through See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham See also:

• MIGNON, ABRAHAM (1640-1697)

Mignon . Some of the finest of van Huysum's fruit and flower pieces have been in See also:

• ENGLISH

English private collections: those of 1723 in the See also:

• EARL

earl of See also:

• ELLESMERE

Ellesmere's gallery, others of 1730–1732 in the collections of See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope and See also:

• ASHBURTON
• ASHBURTON, ALEXANDER BARING
• ASHBURTON, JOHN DUNNING, 1ST

Ashburton . One of the best examples is now in the See also:

• NATIONAL

National Gallery (1736–1737) . No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come See also:

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

Berlin and Amsterdam with four fruit and flower pieces; then St See also:

• PETERSBURG

Petersburg, See also:

• MUNICH (Ger. Munchen)

Munich, See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover, See also:

• DRESDEN

Dresden, the See also:

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

Hague, Brunswick, See also:

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

Vienna, Carlsruhe and See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen .