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ALBERT Cuvi (162o-1691), the son of See also:Jacob Gerritsz by Grietche Dierichsdochter (Dierich's daughter), was See also:born at See also:Dordrecht. He married in 1658 See also:Cornelia Bosnian, a See also:rich widow, by whom he had an only daughter. By right of his possessions at Dordwyck, See also:Cuyp was a See also:vassal of the See also:county of See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland, and privileged to sit in the high See also:court of the See also:province. As a See also:citizen he was sufficiently well known to be placed on the See also:list of those from whom See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William III., See also:stadtholder of the See also:Netherlands, See also:chose the regency of Dordrecht in 1672. His See also:death, and his See also:burial on the 7th of See also:November 1691 in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of the Augustines of Dordrecht, are historically proved. But otherwise the known facts concerning his See also:life are few. He seldom See also:dates his pictures, but it appears probable that he ceased to paint about 1675. It has been said that Albert was the See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of his See also:father. The scanty See also:evidence of Dutch See also:annalists to this effect seems confirmed by a certain coincidence in the See also:style and treatment of father and son. That he was a pupil of See also:van See also:Goyen has been surmised on the strength of the style of his See also:early See also:works. It has been likewise stated that Albert was skilled, not only in the See also:production of portraits, landscapes and herds, but in the See also:representation of still life. His works are supposed to be divisible into such as See also:bear the distinctive marks C. or A. C. in cursive characters, the letters A. C. in See also:Roman capitals, and the name " A. Cuyp
in full. A See also:man of Cuyp's acknowledged See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent may have been versatile enough to paint in many different styles. But whether he was as +versatile as some critics have thought is a question not quite easy to See also:answer. It is to be observed that pieces assigned to Cuyp representing See also:game, See also:- SHELL
- SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)
shell-See also:fish and See also:fruit, and inscribed A. C. in Roman capitals (See also:Rotterdam, See also:Amsterdam and See also:Berlin museums), though cleverly executed, are not in See also:touch or treatment like other pictures of less dubious authenticity, signed either with C. or A. C. or " A. Cuyp " in cursive letters. The panels marked C. and A. C. in cursive are portraits or landscapes, with herds, and interiors of stables or sheds, in which there are cows, horses and poultry. The subjects and their handling are akin to those which strike us in panels bearing the See also:master's full
See also:signature, though characterized, as productions of an artist in the first phase of his progress would naturally be, by tones more See also:uniform, touch more See also:flat, and See also:colour more deep than we find in the delicate and subtle compositions of the painter's later See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time. Generally speaking, the finished examples of Cuyp's See also:middle and final See also:period all bear his full signature. They are all remarkable for harmonies attained by certain combinations of shade in gradations with See also:colours in contraposition.
Albert Cuyp, a true See also:child of the Netherlands, does not seem to have wandered much beyond Rotterdam on the one See also:hand or See also:Nijmwegen on the other. His scenery is that of the See also:Meuse or See also:Rhine exclusively; and there is little variety to See also:notice in his views of See also:water and meadows at Dordrecht, or the bolder undulations of the Rhine See also:banks See also:east of it, except such as results from diversity of effect due to See also:change of See also:weather or See also:season or See also:hour. Cuyp is to the See also:river and its banks what Willem See also:Vandevelde is to See also:calm seas and See also:Hobbema to See also:woods. There is a See also:poetry of effect, an eternity of distance in his pictures, which no Dutchman ever expressed in a similar way. His landscapes sparkle with silvery sheen at early See also:morning, they are bathed in warm or sultry haze at See also:noon, or glow with See also:heat at eventide. Under all circumstances they have a See also:peculiar tinge of See also:auburn which is Cuyp's and Cuyp's alone. See also:Burger truly says van Goyen is See also:- GRAY
- GRAY (or GREY), WALTER DE (d. 1255)
- GRAY, ASA (1810-1888)
- GRAY, DAVID (1838-1861)
- GRAY, ELISHA (1835-1901)
- GRAY, HENRY PETERS (1819-18/7)
- GRAY, HORACE (1828–1902)
- GRAY, JOHN DE (d. 1214)
- GRAY, JOHN EDWARD (1800–1875)
- GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
- GRAY, ROBERT (1809-1872)
- GRAY, SIR THOMAS (d. c. 1369)
- GRAY, THOMAS (1716-1771)
gray, See also:Ruysdael is 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, Hobbema See also:olive, but Cuyp " is blond." The utmost delicacy may be observed in Cuyp's manner of defining reflections of See also:objects in water, or of sight from water on See also:ship's sides. He shows See also:great cleverness in throwing See also:pale-yellow clouds against clear See also:blue skies, and merging yellow mists into olive-See also:green vegetation. He is also very artful in varying See also:light and shade according to distance, either by interchange of See also:cloud-See also:shadow and See also:sun-gleam or by gradation of tints. His horses and See also:cattle are admirably See also:drawn, and they relieve each other quite as well if contrasted in See also:black and 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 black and red, or varied in subtler shades of red and brown.
Rich See also:weed-growth is expressed by light but marrowy touch, suggestive of detail as well as of See also:general See also:form. The human figure is given with homely See also:realism in most cases, but frequently with a charming See also:elevation, when, as often occurs, the persons represented are meant to be portraits. Whatever the theme may be it remains impressed with the See also:character and individuality of Cuyp. See also:Familiar subjects of the master's earlier period are stables with cattle and horses (Rotterdam, Amsterdam, See also:Peters-See also:burg and See also:Brussels museums). Occasionally he painted portraits in the bust form familiar to his father, one of which is dated 1649, and exhibited in the See also:National See also:Gallery, See also:London. More frequently he produced likenesses of ladies and gentlemen on horseback, in which the life and See also:dress of the period and the forms of horses are most vividly represented (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, See also:Bridgewater Gallery, Louvre and See also:Dresden Museum). Later on we find him fondest of expansive scenery with meadows and cattle and flocks, or See also:rivers and See also:barges in the foreground and distances showing the towers and steeples of Dordrecht. Cuyp was more partial to summer than to See also:winter, to noon than to See also:night, to calm than to See also:storm. But some of his best See also:groups are occasionally relieved on dark and gusty cloud (Louvre and Robarts's collection). A few See also:capital pieces show us See also:people sledging and See also:skating or netting See also:ice-holes (Yarborough, Neeld and See also:Bedford collections). A lovely " Night on the Banks of a River," in the Grosvenor collection, reminds us that Cuyp's friend and contemporary was the painter of moonlights, Aart van der See also:Neer, to whom he was equal in the production of these peculiar effects and See also:superior in the throw of figures. Sometimes Cuyp composed See also:fancy subjects. His " See also:Orpheus charming the Beasts," in the See also:Bute collection, is judiciously arranged with the familiar domestic animals in the foreground, and the See also:wild ones, to which he is a See also:comparative stranger, thrown back into the distance. One of his rare See also:gospel subjects is " See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip baptizing the See also:Eunuch " (See also:Marchmont See also:House, See also:Berwickshire), described as a See also:fine See also:work by See also:Waagen. The best and most attractive of Cuyp's pieces are his Meuse and Rhine landscapes, with meadows, cattle, flocks and horsemen, and occasion-ally with boats and barges. In these he brought together and displayed—during his middle and final period—all the skill of one who is at once a poet and a finished artist; grouping, tinting,
See also:CUZCO
touch, See also:harmony of light and shade, and true chords of colours are all combined. Masterpieces of acknowledged beauty are the " Riders with the Boy and Herdsman " in the National Gallery; the Meuse, with Dordrecht in the distance, in three or four varieties, in the Bridgewater, Grosvenor, Holford and Brownlow collections; the " See also:Huntsman " (See also:Ashburton); " Herdsmen with Cattle," belonging to the See also:marquess of Bute; and the " See also:Piper with Cows," in the Louvre. The prices paid for Cuyp's pictures in his own time were comparatively See also:low. In 1750, 30 florins was considered to be the highest sum to which any one of his panels was entitled. But in more See also:recent times the value of the pictures has naturally risen very largely. At the See also:sale of the Clewer collection at See also:Christie's in 1876 a small " Hilly Landscape in Morning Light " was sold for £5040, and a view on the Rhine, with cows on a See also:bank, for £3150. (J. A. C.)
See also:John See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
Smith's See also:Catalogue raisonne of the Dutch and Flemish painters, in 9 vols. (184o), enumerated 335 of Albert Cuyp's works, of which in 1877 See also:Sir J. A. See also:Crowe wrote in this See also:encyclopaedia that " it would be difficult now to find more than a third of them." In C. Hofstede de See also:Groot's Catalogue raisonne, vol. ii. (1909), revising Smith's, the number is extended to nearly 85o, but he accepts too readily the attributions of sale catalogues ; the work is, however, the best See also:modern authority on the painter.
End of Article: ALBERT
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