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See also: Antwerp See also: Academy, and subsequently in Hebert's studio during a stay in See also: Paris from 1865 till 1871
.
He returned to See also: Holland when the Franco-Prussian War broke out, and died there in
See also: August 1899
.
Though he painted, especially in early See also: life, domestic scenes and interiors invested with deeply sympathetic feeling, it is as a landscape painter that See also: Maris will be famous
.
He was the painter of See also: bridges and windmills, of old quays, massive towers, and level See also: banks; even more was he the painter of See also: water, and misty skies, and See also: chasing clouds
.
In all his See also: works, whether in water or oil colour, and in his etchings, the subject is always subordinate to the effect
.
His See also: 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 or gradations of See also: tone
.
And yet, though his means appear so See also: simple, the artist's mind seems to communicate with the spectator's by directness of pictorial See also: instinct, and we have only to observe the admirable balance of composition and truthful 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 atmosphere—for instance, in the " See also: Grey Tower, Old See also: Amsterdam," in the " Landscape near Dordrecht," in the " See also: Sea-See also: weed Carts, See also: Scheveningen," in " A See also: Village Scene," and in the numerous other pictures which have been exhibited in the Royal Academy, See also: London, in See also: Edinburgh (1885), Paris, Brussels and Holland, and in various private collections
.
" No painter," says M
.
Philippe Zilcken, " has so well expressed the ethereal effects, bathed in air and See also: light through floating silvery mist, in which painters delight, and the characteristic remote horizons blurred by haze; or again, the grey yet luminous weather of Holland, unlike the dead grey rain of See also: England or the heavy sky of Paris."
See Max Rooses, Dutch Painters of the Nineteenth Century (London, 1899) ; R
.
A
.
M
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See also: Stevenson, " See also: Jacob Maris," See also: Magazine of Art (1900) ; Ph
.
Zilcken, Peintres Hollandais modernes (Amsterdam, 1893) ; See also: Jan Veth, " Een Studie over Jacob Maris," Onze Kunst (Antwerp, 1902)
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