Page:Hofstede de Groot catalogue raisonné, Volume 1, 1908.djvu/363

 in GERARD DOU 339 PUPILS AND IMITATORS OF GERARD DOU Among the artists who were either Dou's pupils in the ordinary sense, or were strongly influenced by him, Gabriel Metsu has already been dealt with, and Frans van Mieris the elder, Willem van Mieris, Pieter Cornelisz van Slingeland, and Godfried Schalcken will be treated in later volumes. Among the others was prominent Dou's nephew DOMINICUS VAN TOL (1631-1676), an artist without originality, who attained only to a slavish imitation of his uncle's works. The same may be said of the less-gifted PIETER LEERMANS (1640 or 1655-1708 ?), and of JOHANNES ADRIAENSZ VAN STAVEREN (about i624-after 1668), a wealthy dilettante rather than a serious artist, who is still narrower in his imitations, and paints almost- exclusively hermits beside half-decayed tree-trunks in grottoes. ADRIAEN GAESBEEK (1621-1650) has a picture in the Rijksmuseum at Amsterdam representing Dou's studio, as Martin points out (p. 134). So this painter, who died in 1650, must have been Dou's immediate pupil, though the fact would not be inferred solely from his pictures, which are few in number and differ widely from one another. Gaesbeek exhibits only an average amount of artistic talent, and at times inclines very strongly to follow other masters. Compare, for example, his " Holy Family " of 1647 at the Ley den Museum with the picture of the subject which was painted the year before by Rembrandt, and which is now at Kassel. ABRAHAM DE PAPE (about 1620-1666) is an attractive artist of moderate capacity and honourable ambitions. He likes to paint pictures of an old woman alone in an interior, which remind one as often of Dou as of QUIRINGH GERRITSZ VAN BREKELENKAM (flourishing in 1648, died in 1668). It is by no means certain that he had frequented Dou's studio. This is assumed, because Dou at the time exercised an almost unrestricted influence in Leyden, and there was scarcely another painter of the first rank under whom Brekelenkam could have studied. He has translated the neat style of his exemplar into a freer manner j he goes to Metsu for his colouring, composition, and types, and to Pieter de Hooch for his vistas into adjacent rooms j and he subjects himself readily to the charm of the chiaroscuro and colouring in the earlier works of Nicolaes Maes. A rare and hitherto little-regarded artist of Leyden origin is ISAAC KOEDIJK (i6i6-i6i7-after 1677). Until lately he was wrongly assigned to the school of Pieter de Hooch and J. Vermeer, although pictures like " The Operation on the Foot " (in the Leyden Exhibition of 1906) and "The Listener on the Stairs" (destroyed in 1771, but known from old copies) show clearly enough, in their com-