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 518 Painting Jean Francois Millet (1642 — 1680), and his pupil Pieter Eysbraek (1657 — 1729 ?), were both imitators of the style of Gaspard Poussin, whom we shall come across when we read of the French School. Jan Frans van Bloemen (1662 — 1740), brother of Piete van Bloemen, was called, from the beauty of the distances in his landscapes, Orizonte. After he had received an elementary education in art in his native city, he went to Rome, where he studied the works of Gaspard Poussin. (e) The Modern Belgian School. After the close of the seventeenth century, Flemish art was for a time forgotten ; nor did it revive until the time of the French painter David, and his school, who, to some extent, reanimated it. For many years there were no artists of great original power, until, in the present century, a new master arose, who returned to the traditions of the early Flemish masters, and created a new school which seems destined to be lasting and of much importance. Jean Auguste Henri Leys (1815 — 1869) was intended for the church, and received an education befitting that profession. But his early-pronounced love of art prevailed, and in 1830 he entered the studio of his brother-in-law, Ferdinandus de Braekeleer (1792 — 1839). Three years later, Leys produced a picture of a Cornhat between a Grenadier and a Cossack, which was exhibited at Antwerp ; and, at Brussels, La Furie Espagnole, a work which excited much criticism. Henceforth a brilliant career was open to him. Commission followed commission, and honour fol- lowed upon honour. To the Paris Exhibition of 1855, he sent Les trentaines de Bertel de Haze, La Promenade hors II