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See also:DAVID, See also:GERARD [GHEERAERT DAVIT], (?=1523) , Nether-lands painter, See also:born at Oudewater in 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 between 1450 and 1460, was the last See also:great See also:master of the See also:Bruges school. He was only rescued from See also:complete oblivion in 186o-1863 by Mr W. J. H. Weale, whose researches in the archives of Bruges brought to the See also:light the See also:main facts of the master's See also:life. We have now documentary See also:evidence that David came to Bruges in 1483, presumably from See also:Haarlem, where he had formed his See also:early See also:style under the tuition of Ouwater; that he joined the gild of St See also:Luke at Bruges in 1484 and became See also:dean of the gild in 1501; that he married in 1496 See also:Cornelia Cnoop, daughter of the dean of the Goldsmiths' gild; became one of the leading citizens of the See also:town; died on the 13th of See also:August 1523; and was buried 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 Our See also:Lady at Bruges. In his early See also:work he had followed the Haarlem tradition as represented by Dirck Bouts, Ouwater and Geertgen of Haarlem, but already gave evidence of his See also:superior See also:power as colourist. To this early See also:period belong the " St See also:John " of the See also:Kaufmann collection in See also:Berlin, and Mr Salting's " St See also:Jerome." In Bruges he applied himself to the study and the copying of the masterpieces by the See also:Van Eycks, Van der See also:Weyden, and Van der Goes, and came under the See also:direct See also:influence of the master whom he followed most closely, Hans See also:Memlinc. From him he acquired the soulful intensity of expression, the increased See also:realism in the rendering of the human See also:form and the orderly architectonic arrangement of the figures. Yet another master was to influence him later in life when, in 1515, he visited See also:Antwerp and became impressed with the life and See also:movement of Quentin See also:Matsys, who had introduced a more intimate and more human conception of sacred themes. David's " Pieta " in the See also:National See also:Gallery, and the " Descent from the See also:Cross," in the See also:Cavallo collection, See also:Paris (See also:Guildhall, 1906), were painted under this influence and are remarkable for their dramatic movement. But the See also:works on which David's fame will ever See also:rest most securely are the great See also:altar-pieces executed by him before his visit to Antwerp—the " See also:Marriage of St See also:Catherine," at the National Gallery; the See also:triptych of the " Madonna Enthroned and See also:Saints" of the Brignole-See also:Sale collection in See also:Genoa; the " See also:Annunciation " of the See also:Sigmaringen collection; and, above all, the " Madonna with Angels and Saints " which he painted gratuitously for the Carmelite Nuns of See also:Sion at Bruges, and which is now in the See also:Rouen museum. Only a few of his works have remained in Bruges—" The See also:Judgment of See also:Cambyses," " The Flaying of Sisamnes " and the " See also:Baptism of See also:Christ " in the Town museum, and the " Transfiguration " in the Church of Our Lady. The rest were scattered all over the See also:world, and to this may be due the oblivion into which his very name had fallen—partly to this, and partly to the fact that with all the beauty and soulfulness of his work he had no new See also:page to add to the See also:history of the progressive development of See also:art, and even in his best work only gave new See also:variations of the tunes sung by his great precursors and contemporaries. That he is worthy to See also:rank among the masters was only revealed to the world when a considerable number of his paintings were assembled at Bruges on the occasion of the See also:exhibition of early Flemish masters in 1902. At the 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 of his See also:death the See also:glory of Bruges, and also of the Bruges school, was on the wane, and Antwerp had taken the leadership in art as in See also:political and commercial importance. Of David's pupils in Bruges, only Isenbrandt, A. Cornelis and Ambrosius See also:Benson achieved importance. Among other Flemish painters See also:Joachim Patinir and See also:Mabuse were to some degree influenced by him.
See also:Eberhard Freiherr von Bodenhausen published in 190 a very comprehensive monograph on Gerard David and his School (See also:Munich, F. See also:Bruckmann), together with a See also:catalogue raisonne of his works, which, after careful sifting, are reduced to the number of See also:forty-three. (P. G.
End of Article: DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
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