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See also:NEER, See also:VAN DER . Aernout and Eglon van der Neer, See also:father and son, were Dutch painters whose lives filled almost the whole of the 17th See also:century.
1. AERNOUT VAN DER NEER (1603-1677), commonly called Aert or Artus, was the contemporary of See also:Albert See also:Cuyp and See also:Hobbema, and so far like the latter that he lived and died in See also:comparative obscurity. Aernout was See also:born at Gorkum and died at See also:Amsterdam. See also:Houbraken's statement that Aernout had been a steward to a Dutch nobleman, and an See also:amateur painter, before he settled in Amsterdam and acquired skill with his See also:brush, would See also:account for the See also:absence of any pictures dating from his See also:early years. He died in abject poverty, and his See also:art was so little esteemed that the pictures See also:left by him were valued at about five shillings apiece. Even as early as 1659 he found it necessary to supplement his income by keeping a See also:wine See also:tavern. The earliest pictures in which Aernout coupled his See also:monogram of A. V. and D. N. interlaced with a date are a See also:winter landscape in the Rijks Museum at Amsterdam (dated 1639), and another in the Martins collection at See also:Kiel (1642)—immature See also:works both, of poor quality. Far better is the " Winter Landscape " (1643) in See also:Lady See also:Wantage's collection, and the " Moonlight See also:Scene " (1644) in the d'Arenberg collection in See also:Brussels. In 1652 Aernout witnessed the See also:fire which consumed the old See also:town-See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall of Amsterdam. He made this See also:accident the subject for two or three pictures, now in the galleries of See also:Berlin and See also:Copenhagen. Though Amsterdam appears to have been constantly van der Neer's See also:domicile, his pictures tell that he was well acquainted with the canals and See also:woods about See also:Haarlem and See also:Leiden, and with the reaches of the Macs and See also:Rhine. See also:Dort, the See also:home of Albert Cuyp, is sometimes found in his pictures, and substantial See also:evidence exists that there was friendship between the two men. At some See also:period of their lives they laid their hands to the same canvases, on each of which they left their See also:joint See also:mark. On some it was the See also:signature of the name, on others the more convincing signature of See also:style. There are landscapes in the collections of the See also:dukes of See also:Bedford and See also:Westminster, in which Cuyp has represented either the frozen See also:Maes with fishermen packing See also:herrings, or the See also:- MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
- MOON, SIR RICHARD, 1ST BARONET (1814-1899)
moon reflecting its See also:light on the See also:river's placid See also:waters. These are See also:models after which van der Neer appears to have worked. The same feeling and similar subjects are found in Cuyp and van der Neer, before and after their See also:partnership. But Cuyp was the leading See also:genius. Van der Neer got assistance from him; Cuyp expected none from van der Neer. He care-fully enlivened his friend's pictures, when asked to do so, with figures and See also:cattle. It is in pictures jointly produced by them that we discover van der. Neer's presence at Dort. We are near
Dort in the landscape sunset of the Louvre, in which Cuyp evidently painted the foreground and cows. In the See also:National See also:Gallery picture Cuyp signs his name on the See also:pail of a milkmaid, whose figure and red skirt he has painted with light effectiveness near the edge of van der Neer's landscape. Again, a couple of fishermen with a See also:dog, and a sportsman creeping up to surprise some ducks, are Cuyp's in a See also:capital van der Neer at the Staedel See also:Institute in See also:Frankfort.
Van der Neer's favourite subjects were the See also:rivers and See also:water-courses of his native See also:country either at sunset or after dark. His See also:peculiar skill is shown in realizing transparence which allows See also:objects—even distant—to appear in the darkness with varieties of warm 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 and See also:steel greys. Another of his fancies is to paint frozen water, and his daylight icescapes with golfers, sleighers, and fishermen are as numerous as his moonlights. But he always avoids the impression of frostiness, which is one of his See also:great gifts. His pictures are not scarce. They are less valuable in the See also:market than those of Cuyp or Hobbema; but, possessing a See also:charm peculiarly their own, they are much sought after by collectors. Out of about one See also:hundred and fifty pictures accessible to the public, the choicest selection is in the Hermitage at St See also:Petersburg. In See also:England paintings from his brush are to be found at the National Gallery and See also:Wallace Collection, and, amongst others, in the collections of the See also:marquess of See also:Bute and See also:Colonel Holford.
2. EGLON VAN DER NEER (1643–1703) was born at Amsterdam, and died at See also:Dusseldorf on the 3rd of May 1703. He was first taught by his father, and then took lessons from See also:Jacob van See also:Loo, whose See also:chief business then consisted in See also:painting figures in the landscapes of Wynants and Hobbema. When van Loo went to See also:Paris in 1663 to join the school from which See also:Boucher afterwards emerged, he was accompanied or followed by Eglon. But, leaving Paris about 1666, he settled at See also:Rotterdam, where he dwelt for many years. Later on he took up his See also:residence at Brussels, and finally went to Dusseldorf, where he entered the service of the elector-See also:palatine Johann Wilhelm von der Pfalz. In each of the places where he stopped Eglon married, and having had three wives became the father of twenty-five See also:children. A portrait of the princess of Neuberg led to his See also:appointment as painter to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king of See also:Spain.
Eglon van der Neer has painted landscapes imitating those of his father, of See also:Berchem, and of See also:Adam Elsheimer. He frequently put the figures into the town views of See also:Jan van der See also:Heyden in competition with Berchem and See also:Adrian van der Velde. His best works are portraits, in which he occasionally came near Ter Borch or See also:Metsu in delicacy of See also:touch, de See also:Hooch in effectiveness of See also:lighting, or See also:Mieris in See also:polish of See also:surface. One of his earliest pieces in which the See also:influence of Ter Borch is apparent is the " Lady with the See also:Book," of 1665, which was sold with the Bredel collection in 1875. A See also:young woman in 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 red satin at Rotterdam, of 1669, recalls Mieris, whose style also reappears in Eglon's " See also:Cleopatra " at 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. Two landscapes with " See also:Tobit and the See also:Angel," dated 1685 and 1694, in the museums of Berlin and Amsterdam, illustrate his See also:fashion of setting Scripture scenes in Dutch backgrounds. The most important of his sacred compositions is the " See also:Esther and See also:Ahasuerus," of 1696, in the Uffizi at See also:Florence. But Eglon varied his practice also with arrangements of See also:hunting and hawking parties, pastures and fords, and See also:cavalry skirmishes. The latest of his panels is a See also:mountain landscape of 1702 in the gallery of See also:Augsburg. (J. A. C.; P. G.
End of Article: NEER, VAN DER
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