See also:

• VAN

VAN DER See also:

• VAN DER NEER

NEER  . Aernout and Eglon See also:

• VAN

van der See also:

• NEER, VAN DER

Neer, See also:

• FATHER

father and son, were Dutch painters whose lives filled almost the whole of the 17th See also:

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

century . 1 . AERNOUT VAN DER NEER (1603-1677), commonly called Aert or Artus, was the contemporary 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 and See also:

• HOBBEMA, MEYNDERT (c. 1638-1709)

Hobbema, and so far like the latter that he lived and died in See also:

• COMPARATIVE

comparative obscurity . Aernout was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Gorkum and died at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam . See also:

• HOUBRAKEN, JACOBUS (1698–178o)

Houbraken's statement that Aernout had been a steward to a Dutch nobleman, and an See also:

• AMATEUR (Lat. amator, lover)

amateur painter, before he settled in Amsterdam and acquired skill with his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush, would See also:

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

account for the See also:

• ABSENCE (Lat. absentia)

absence of any pictures dating from his See also:

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

early years . He died in abject poverty, and his See also:

• ART

art was so little esteemed that the pictures See also:

• LEFT

left by him were valued at about five shillings apiece . Even as early as 1659 he found it necessary to supplement his income by keeping a See also:

• WINE (Lat. vinum, Gr. oivos)

wine See also:

• TAVERN

tavern . The earliest pictures in which Aernout coupled his See also:

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

monogram of A . V. and D . N. interlaced with a date are a See also:

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

winter landscape in the Rijks Museum at Amsterdam (dated 1639), and another in the Martins collection at See also:

• KIEL

Kiel (1642)—immature See also:

• WORKS

works both, of poor quality . Far better is the " Winter Landscape " (1643) in 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 See also:

• WANTAGE

Wantage's collection, and the " Moonlight See also:

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

Scene " (1644) in the d'Arenberg collection in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels .

In 1652 Aernout witnessed the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire which consumed the old See also:

• TOWN

town-See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of Amsterdam . He made this See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident the subject for two or three pictures, now in the galleries of See also:

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

Berlin and See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen . Though Amsterdam appears to have been constantly van der Neer's See also:

• DOMICILE (Lat. domicilium, from domus, home)

domicile, his pictures tell that he was well acquainted with the canals and See also:

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

woods about See also:

• HAARLEM

Haarlem and See also:

• LEIDEN

Leiden, and with the reaches of the Macs and See also:

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

Rhine . See also:

• DORT, SYNOD OF

Dort, the See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home of Albert Cuyp, is sometimes found in his pictures, and substantial See also:

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

evidence exists that there was friendship between the two men . At some See also:

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

period of their lives they laid their hands to the same canvases, on each of which they left their See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark . On some it was the See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature of the name, on others the more convincing signature of See also:

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

style . There are landscapes in the collections of the See also:

• DUKES
• DUKES, LEOPOLD (1810-1891)

dukes of See also:

• BEDFORD

Bedford and See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster, in which Cuyp has represented either the frozen See also:

• MAES, NICOLAS (1632-1693)

Maes with fishermen packing See also:

• HERRINGS, BATTLE OF THE

herrings, or the See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

moon reflecting its See also:

• LIGHT

light on the See also:

• RIVER

river's placid See also:

• WATERS, TERRITORIAL

waters . These are See also:

• MODELS

models after which van der Neer appears to have worked . The same feeling and similar subjects are found in Cuyp and van der Neer, before and after their See also:

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

partnership . But Cuyp was the leading See also:

• GENIUS (from Lat. genere, gignere)

genius . Van der Neer got assistance from him; Cuyp expected none from van der Neer . He care-fully enlivened his friend's pictures, when asked to do so, with figures 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 .

It is in pictures jointly produced by them that we discover van der . Neer's presence at Dort . We are near Dort in the landscape sunset of the Louvre, in which Cuyp evidently painted the foreground and cows . In the See also:

• NATIONAL

National See also:

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

Gallery picture Cuyp signs his name on the See also:

• PAIL

pail of a milkmaid, whose figure and red skirt he has painted with light effectiveness near the edge of van der Neer's landscape . Again, a couple of fishermen with a See also:

• DOG

dog, and a sportsman creeping up to surprise some ducks, are Cuyp's in a See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital van der Neer at the Staedel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute in See also:

• FRANKFORT

Frankfort . Van der Neer's favourite subjects were the See also:

• RIVERS
• RIVERS, ANTHONY WOODVILLE, or WYDEVILLE, 2ND EARL (c. 1442—1483)
• RIVERS, EARL
• RIVERS, RICHARD SAVAGE, 4TH EARL (c. 1660—1712)

rivers and See also:

• WATER

water-courses of his native See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country either at sunset or after dark . His See also:

• PECULIAR

peculiar skill is shown in realizing transparence which allows See also:

• OBJECTS

objects—even distant—to appear in the darkness with varieties of warm 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 See also:

• STEEL, FLORA ANNIE (1847– )

steel greys . Another of his fancies is to paint frozen water, and his daylight icescapes with golfers, sleighers, and fishermen are as numerous as his moonlights . But he always avoids the impression of frostiness, which is one of his See also:

• GREAT

great gifts . His pictures are not scarce . They are less valuable in the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market than those of Cuyp or Hobbema; but, possessing a See also:

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

charm peculiarly their own, they are much sought after by collectors . Out of about one See also:

• HUNDRED

hundred and fifty pictures accessible to the public, the choicest selection is in the Hermitage at St See also:

• PETERSBURG

Petersburg .

In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England paintings from his brush are to be found at the National Gallery and See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection, and, amongst others, in the collections 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 and See also:

• COLONEL (derived either from Lat. column, Fr. colonne, column, or Lat. corona, a crown)

Colonel Holford . 2 . EGLON VAN DER NEER (1643–1703) was born at Amsterdam, and died at See also:

• DUSSELDORF

Dusseldorf on the 3rd of May 1703 . He was first taught by his father, and then took lessons from See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob van See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

Loo, whose See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief business then consisted in See also:

• PAINTING

painting figures in the landscapes of Wynants and Hobbema . When van Loo went to 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 in 1663 to join the school from which See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher afterwards emerged, he was accompanied or followed by Eglon . But, leaving Paris about 1666, he settled at See also:

• ROTTERDAM

Rotterdam, where he dwelt for many years . Later on he took up his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at Brussels, and finally went to Dusseldorf, where he entered the service of the elector-See also:

• PALATINE (from Lat. palatium, a palace,)

palatine Johann Wilhelm von der Pfalz . In each of the places where he stopped Eglon married, and having had three wives became the father of twenty-five See also:

• CHILDREN, LAW RELATING TO

children . A portrait of the princess of Neuberg led to his See also:

• APPOINTMENT, POWER OF

appointment as painter to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• SPAIN
• SPAIN (Espana)

Spain . Eglon van der Neer has painted landscapes imitating those of his father, of See also:

• BERCHEM (or BERGHHEM), NICOLAAS (162o–1683)

Berchem, and of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam Elsheimer . He frequently put the figures into the town views of See also:

• JAN

Jan van der See also:

• HEYDEN, JAN VAN DER (r637-1712)

Heyden in competition with Berchem and See also:

• ADRIAN
• ADRIAN, SAINT

Adrian van der Velde . His best works are portraits, in which he occasionally came near Ter Borch or See also:

• METSU, GABRIEL (1630—1667)

Metsu in delicacy of 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, de See also:

• HOOCH, PIETER DE (1629-?1678)

Hooch in effectiveness of See also:

• LIGHTING

lighting, or See also:

• MIERIS

Mieris in See also:

• POLISH

polish of See also:

• SURFACE

surface .

One of his earliest pieces in which the See also:

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

influence of Ter Borch is apparent is the " Lady with the See also:

• BOOK

Book," of 1665, which was sold with the Bredel collection in 1875 . A See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young woman in 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 and red satin at Rotterdam, of 1669, recalls Mieris, whose style also reappears in Eglon's " See also:

• CLEOPATRA

Cleopatra " at See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

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

Palace . Two landscapes with " See also:

• TOBIT, THE BOOK OF

Tobit and the See also:

• ANGEL

Angel," dated 1685 and 1694, in the museums of Berlin and Amsterdam, illustrate his See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of setting Scripture scenes in Dutch backgrounds . The most important of his sacred compositions is the " See also:

• ESTHER

Esther and See also:

• AHASUERUS (the Latinized form of the Hebrew siSi nte; in LXX. 'AQ rofrgpos, once in Tobit 'Ao o pos)

Ahasuerus," of 1696, in the Uffizi at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . But Eglon varied his practice also with arrangements of See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting and hawking parties, pastures and fords, and See also:

• CAVALRY (Fr. cavalerie, Ger. Kavallerie or Reiterei, derived ultimately from late Lat. caballus, horse)

cavalry skirmishes . The latest of his panels is a See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain landscape of 1702 in the gallery of See also:

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

Augsburg . (J . A . C.; P . G .