Page:The New International Encyclopædia 1st ed. v. 14.djvu/456

* NETHERLANDS. 404 NETHERLANDS SCHOOLS. coli)iii:il |i(i->c^>ii)M-. fiijliiiiciiif' in the Western Heiiiisplu'ie, Uiitcli Cuiniiii and C'uriK.ao. and in the Kastern, .Java, part of Hoineo, Sumatra, Timor, the Moluccas, Celebes, and the west- ern half of New Guinea. These are run as com- mereial vcntires and are kept under rijjid Gov- ernment control. Slavery existed in the Western Dutch colonies until 18(i2 and a system of ob- li^iatory lalior under ollicial supervision still obtains in the Dutch East Indies. The Consti- tution, which had been much liberalized under the revolutionary inlluence of 1848, was further modified in 1887. when the suffrage was ex- tended, the Upper House of the States-General, elected by the jirovineial estates, was enlarged to fiftv. and the succession to the throne defined. Kiiig William 111. died Xoveniber 23. ISnO. and was succeeded by his daughter, Wil- helmina Ilelcnc Pauline" Maria (q.v.). who was born August HI, ISSO, and was enthroned on her eighteciitli birthday. She married I'rince Henry of Mccklcnljcrg-Scbwerin. February 7. 1!U)1. In 1898 the International Peace Conference, called at the suggestion of the C/.ar of Kussia, was held at The Hague, which was made the .seat of the inter- nntionai arbitration tribunal established by the conference. (See ll.voLK Pk.vce Conkekexce.) See Political Parties, section Xethcrlunds. Bibliography. General. Craandijk and Schipperus, Wandcrlhuicn door cdcrla)id met pen en jMtlood (Haarlem, 1875-88); Wood, Through HoUnnd (London, 1877); Havard, In the Heart of Uolland ( ib., 1880) ; Hare, tiketehes in Holland and Henndinaria (ib., 188.5) ; Aniicis, Holland (Xew York, 18U.3): Meldrum. Holland and the Hollanders (ib.. 1898): Griffis, The Ameriean in Holland (Boston. 1899); Bernard and others. La Hollande geofjraphique, ethnolo- gif/ue. etc. (Paris, 1900). History. The most thorough and scholarly history of the Netherlands is that of Blok, Oesehiedeni.i ran het i'ederland.iehe Yolk, four volumes of which appeare Historij of the Setherlands (Philadelphia, lS:in) : Davies. Histori/ of Holland (London. 18.il ) ; Motley. Hise of the Diilrh h'rpiib- lie (Xew York. 18.'j8) ;"id.. HiMonj of the I'niled Ketherlandu (London, 18ti9) ; Rogers, The Utorji of Holland. "Htory of the Nations Series" (Xew York. 1890) : •Seignobos. Hixtoirr imlitirjue dc VEnrope eontempurainf (Paris, 1897): and for bibliography, XijhotT. liihliofirnphia historiro- fieor/raphiea Seerlandiea (The Hague. 189) ; Thorne. "Reading List on the Xetherlands." in A'eic Yorl- Htate Librani Itulleiin, Bihlioqraphy A'o. fl (Albany, 1S9S). ' NETHERLANDS SCHOOLS OF PAINT- ING, liidrr tbi^ till.' iii^iy Kr^l be gn.upcd Flemish and Dutch schools, which possess in common certain distinctive qualities and have had n similar development. The riemish school may lie said to begin with Huybecht and .Ian van Eyek (died 1440). whose remarkable improve- ment of oil |iainting revolutionized the art. The chief characteristics of the early Flemish school are a pronounced realism, highly detailed finish, and the use of landscape background; its best painters had a good sense of color, perspective, atmosphere, light and shade. Jan van Eyck founded the school of Bruges, the chief centre in Flanders; and his follower or rival. Roger van der Weyden (died 14G4), founded the school of Brabant, with a centre at Brus.sels, which was more emotional and dramatic in character. In the sixtecntli century the chief scat of the Flem- ish school was at Antwerp, where Quentin Massys (died 1530) founded a school, which in the seventeenth century found its oilmination in Rubens (1577-1040) and his pupils. Van Dyck and .Jordaens. The productions of the later Flem- ish school are characterized by brilliant line and color, though they are materialistic and lack beauty of face and tenderness of feeling. Al- though Flemish as regards its characteristic realisnf. it was nuich influenced by Italian paint- ing, especially in color. Contemporary with Rubens and his followers were a number of im- portant genre painters, who were thoroughly Flemish, untouched by Italian infiuence. The chief representatives were Teniers the Yoiuiger, Brouwer, and (Jonzales Coques. In the eigh- teenth century Flemish painting declined, and was of little importance. The painting of the early Dutch school re- sembles that of the Flemisli. and was much inlbi- enced by the Van Eycks. Haarlem is recorded as being the chief centre, but none of the works of the reputed founder of the school, Aclbert Ouwater (fifteenth century), survive. Its chief nuisters were Dierick Bouts (died 1475) and Lucas van Leyden (1494-1533). The sixteenth century was a period of Italian influence and unimportant productions, but the seventeenth was the golden age of Dutch painting. Haarlem remained the chief centre, and there was an important school at AmstcTdam. With an entire absence of Ital- ian infiuence. there arose an art more realistic, more distinctly national than the Flemish. The overthrow of Spain and Catholicism did away with the demand for religious paintings, which were superseded by portrait, genre, land-cape, and animal subjects. In these the Dutch achieved perfection alike in color and design, but they seldom attenii)ted larger compositions, in which they were indilTerently successful. Among the Dutch artists in the seventeenth cen- tury, the chief masters in portraiture are Frans Hais and Rembrandt; the latter was equally great in landscape, and introduced light effects, which have not yet ceased to infiuence painting. In genre painting the most important were Adriaen van Ostade for peasant scenes, and Gerard Terburg for more rcfine<i subjects, besides Gerard Dou. .Ian Stcen, Pieter dc Ilooghe. and Jan van der Meer. The Dutch were the first to practice landscape and animal painting for its own sake; their greatest landscajiists were Ruys- dael and Hobbema, while in aniuial painting Wouverman. Paul Potter, Adriaen van de Veldc, and .elbert Cnyp are preeminent. In murines the greatest names are Willem van de Vcblc the Younger and Backhuisen: and in all the branches of still-life jiainting the Dutch excelled prcileces- sors and contemporaries. In the nineteenth cen- tury a new school, distinctly Dutch, arose, includ- ing important artists like Israels, the jieasant painter, the brothers Maris in landscape. Me.sdag in nmrines, and Mauve in animal subjects. Bibliography. The chief source for the lives