See also:

• JACOB
• JACOB, JOHN (1812-1858)

JACOB See also:

• JACOB MARIS (1837-1899)

MARIS (1837-1899)  , Dutch painter, first studied at the See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and subsequently in See also:

• HEBERT, EDMOND (s812-189o)
• HEBERT, JACQUES RENE (1757-1794)

Hebert's studio during a stay in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris from 1865 till 1871 . He returned to 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 when the Franco-Prussian See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out, and died there in See also:

• AUGUST (originally Sextilis)

August 1899 . Though he painted, especially in See also:

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

early See also:

• LIFE

life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that See also:

• MARIS, JACOB (1837-1899)

Maris will be famous . He was the painter of See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

bridges and windmills, of old quays, massive towers, and level See also:

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

banks; even more was he the painter of See also:

• WATER

water, and misty skies, and See also:

• CHASING, or ENCHASING

chasing clouds . In all his See also:

• WORKS

works, whether in water or oil See also:

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

colour, and in his etchings, the subject is always subordinate to the effect . His See also:

• ART

art is suggestive rather than decorative, and his force does not seem to depend on any preconceived method, such as a synthetical treatment of See also:

• FORM (Lat. forma)

form or gradations of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . And yet, though his means appear so See also:

• SIMPLE

simple, the artist's mind seems to communicate with the spectator's by directness of pictorial See also:

• INSTINCT

instinct, and we have only to observe the admirable See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and truthful See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective to understand the sure knowledge of his business that underlies such purely impressionist handling . Maris has shown all that is gravest or brightest in the landscape of Holland, all that is heaviest or clearest in its See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere—for instance, in the " 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:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower, Old See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam," in the " Landscape near See also:

• DORDRECHT (abbreviated Dordt, or Dort)

Dordrecht," in 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-See also:

• WEED, THURLOW (1797—1882)

weed Carts, See also:

• SCHEVENINGEN

Scheveningen," in " A See also:

• VILLAGE

Village See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

Scene," and in the numerous other pictures which have been exhibited in the Royal Academy, See also:

• LONDON

London, in See also:

• EDINBURGH

Edinburgh (1885), Paris, See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels and Holland, and in various private collections . " No painter," says M . Philippe Zilcken, " has so well expressed the ethereal effects, bathed in See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air and See also:

• LIGHT

light through floating silvery mist, in which painters delight, and the characteristic remote horizons blurred by haze; or again, the grey yet luminous See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather of Holland, unlike the dead grey See also:

• RAIN (O.E. regn; the word is common to Teutonic languages, cf. Ger. Regen, Swed. and Dan. regn; it has been connected with Lat. rigare, to wet, Gr. 13pixeav)

rain of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England or the heavy See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky of Paris." See Max Rooses, Dutch Painters of the Nineteenth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

Century (London, 1899) ; R . A . M .

See also:

• STEVENSON, ADLA1 EWING (1835- )
• STEVENSON, ROBERT (1772-1850)
• STEVENSON, ROBERT LEWIS BALFOUR (1850-1894)

Stevenson, " See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob Maris," See also:

• MAGAZINE

Magazine of Art (1900) ; Ph . Zilcken, Peintres Hollandais modernes (Amsterdam, 1893) ; See also:

• JAN

Jan Veth, " Een Studie over Jacob Maris," Onze Kunst (Antwerp, 1902) .