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company of the civic guard at Haarlem, and at twenty-eight he married. His wife died in 164o and he speedily re-married, but again became a widower in 1666. He took the highest honours of his profession, the See also:

PRESIDENCY

presidency of the painters' gild at Haarlem, in 1662. Among the treasures of the Louvre collection, a striking picture represents the See also:

FATHER

father of a large family sitting in See also:

state with his wife at his See also:

side in a handsomely furnished See also:

ROOM

room, surrounded by his son and five daughters, and a See also:

young married couple. It is an old tradition that Ostade here painted himself and his See also:

CHILDREN, LAW RELATING TO

children in See also:

HOLIDAY

holiday attire; yet the See also:

style is much too refined for the painter of boors, and Ostade had but one daughter. The number of Ostade's pictures is given by See also:

Smith at three See also:

HUNDRED

hundred and eighty-five, but by Hofstede de See also:

GROOT, GERHARD (1340—1384)

Groot (1910) at over 900.

At his See also:

DEATH

death the stock of his unsold pieces was over two hundred. His engraved plates were put up to See also:

AUCTION

auction, with the pictures, and fifty etched plates—most of them dated 1647–1648—were disposed of in 1686. Two hundred and twenty of his pictures are in public and private collections, of which one hundred I It was natural that, with the tendency to effect which marked Ostade from the first, he should have been fired by emulation to See also:

RIVAL

rival the masterpieces of See also:

REMBRANDT (1606-1669)

Rembrandt. His early pictures are not so rare but that we can trace how he glided out of one See also:

period into the other. Before the See also:

dispersion of the Gsell collection at See also:

Vienna in 1872, it was easy to study the See also:

STEEL, FLORA ANNIE (1847– )

steel-See also:

grey harmonics and exaggerated See also:

CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature of his early See also:

WORKS

works in the period intervening between 1632 and 1638. There is a picture of a " Countryman having his Tooth See also:

DRAWN

Drawn," in the Vienna See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, unsigned, and painted about 1632; a " Bagpiper " of 1635 in the See also:

LIECHTENSTEIN

Liechtenstein Gallery at Vienna; cottage scenes of 1635 and 1636, in the museums of See also:

KARLSRUHE, or CARLSRUHE

Karlsruhe, See also:

DARMSTADT

Darmstadt and See also:

DRESDEN

Dresden; and " Card Players " of 1637 in the Liechtenstein See also:

PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at Vienna, which make up for the loss of the Gsell collection. The same style marks most of those pieces. About 1638 or 164o the See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Rembrandt suddenly changed his style, and he,.painted the " See also:

ANNUNCIATION

Annunciation " of the See also:

Brunswick museum, where the angels appearing in the See also:

SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky to Dutch boors See also:

HALF

half asleep amidst their See also:

CATTLE (Norman Fr. catel, from Late Lat. capitale, wealth or property, a word applied in the feudal system to movable property and particularly to live stock, and surviving in its wider meaning as " chattel " or " chattle ")

cattle, See also:

sheep and See also:

DOGS, ISLE OF

dogs, in front of a cottage, at once recall the similar subject by Rembrandt and his effective mode of See also:

LIGHTING

lighting the See also:

PRINCIPAL

principal See also:

groups by rays propelled to the See also:

earth out of a murky sky. But Ostade was not successful in this effort to vulgarize Scripture. He might have been pardoned had he given dramatic force and expression to his picture; but his shepherds were only boors without much emotion, See also:

PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion or surprise. His picture was an effect of See also:

LIGHT

light, as such masterly, in its sketchy rubbings, of dark See also:

brown See also:

TONE, THEOBALD WOLFE (1763-1798)

tone relieved by strongly impasted See also:

LIGHTS, CEREMONIAL USE OF

lights, but without the very qualities which made his usual subjects attractive. When, in 1642, he painted the beautiful interior at the Louvre, in which a See also:

MOTHER

mother tends her See also:

child in a See also:

CRADLE (of uncertain etymology, possibly connected with " crate " and " creel," i.e. basket; the derivation from a Celtic word, with a sense of rocking, is scouted by the New English Dictionary)

cradle at the side of a See also:

GREAT

great See also:

CHIMNEY (through the Fr. cheminee, from caminata, sc. camera, a Lat. derivative of caminus, an oven or furnace)

chimney near which her See also:

HUSBAND

husband is sitting, the darkness of a See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country See also:

LOFT (connected with " lift," i.e. raised in the air; O. Eng. lyft; cf. Ger. Luft; the French term is grenier and Ger. Boden)

loft is dimly illumined by a See also:

beam from the See also:

sun that shines on the See also:

CASEMENT (from a Lat. form casamentum)

casement; and one might think the painter intended to depict the Nativity, but that there is nothing See also:

HOLY

holy in all the surroundings, nothing attractive indeed except the wonderful Rembrandtesque transparency, the brown tone, and the admirable keeping of the minutest parts.

Ostade was more at See also:

home in a similar effect applied to the See also:

COMMONPLACE

commonplace incident of the Slaughtering of a See also:

Pig," one of the masterpieces of 1643, once in the Gsell collection. In this and similar subjects of previous and succeeding years, he returned to the homely subjects in which his See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and wonderful observation made him a master. He does not seem to have gone back to See also:

GOSPEL (O. Eng. godspel, i.e. good news, a translation of Lat. bona annuntiatio, or evangelium, Gr. evayyeXwv; cf. Goth. iu spillon, " to announce good news," Ulfilas' translation of the Greek, from iu, that which is good, and spellon to announce)

gospel illustrations till 1667, when he produced an admirable " Nativity," which is only surpassed as regards arrangement and See also:

COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour by Rembrandt's " See also:

Carpenter's Family " at the Louvre, or the " Woodcutter and Children" in the gallery of See also:

Cassel. Innumerable almost are the more See also:

FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar themes to which he devoted his See also:

brush during this See also:

INTERVAL

interval, from small single figures, representing smokers or drinkers, to vulgarized allegories of the five senses (Hermitage and Brunswick galleries), half-lengths of fishmongers and bakers and cottage brawls, or scenes of gambling, or itinerant players and quacks, and nine-See also:

PIN (a doublet with " pen " from Lat. pinna, feather, pinnacle, which is said to contain the same root as irirvs, pine tree, and properly to mean a sharp point or end)

pin players in the open See also:

air. The See also:

HUMOUR (Latin humor)

humour in some of these pieces is contagious, as in the " See also:

TAVERN

Tavern See also:

SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

Scene " of the Lacaze collection (Louvre, 1653). His See also:

art may be studied in the large See also:

SERIES (a Latin word from serere, to join)

series of dated pieces which adorn every See also:

EUROPEAN

European See also:

capital, from St See also:

PETERSBURG

Petersburg to See also:

LONDON

London. See also:

Buckingham Palace has a large number, and many a See also:

GOOD, JOHN MASON (1764-1827)

good specimen lies hidden in the private collections of See also:

England. But if we should select a few as peculiarly worthy of See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention, we might point to the " Rustics in a Tavern peculiarly of 1662 at the See also:

HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, the " Village School " of the same See also:

YEAR

year at the Louvre, the " Tavern See also:

Court-yard " of 167o at Cassel, the " Sportsmen's See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

Rest " of 1671 at See also:

Amsterdam and the " Fiddler and his See also:

AUDIENCE (from Lat. audire, to hear)

Audience " of 1673 at the Hague. At Amsterdam we have the likeness of a painter, sitting with his back to the spectator, at his easel. The colour-grinder is at See also:

WORK

work in a corner, a 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 prepares a See also:

PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette and a See also:

black See also:

dog sleeps on the ground. A replica of this picture, with the date of 1666, is in the Dresden gallery. Both specimens are supposed to represent Ostade himself.

But unfortunately we see the artist's back and not his See also:

FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face. In his See also:

ETCHING (Dutch, etsen, to eat)

etching (Bartsch, 32) the painter shows himself in See also:

PROFILE

profile, at work on a See also:

CANVAS

canvas. Two of his latest dated works, the " Village See also:

Street " and " Skittle Players," which were noteworthy items in the See also:

Ashburton and See also:

ELLESMERE

Ellesmere collections, were executed in 1676 without any sign of declining See also:

POWERS, HIRAM (1805-1873)

powers. The prices which Ostade received are not known, but pictures which were See also:

worth £4o in 1750 were worth £See also:

I000

I000 a century later, and See also:

EARL

Earl See also:

Dudley gave £4120 for a cottage interior in 1876. The signatures of Ostade vary at different periods. But the first two letters are generally interlaced. Up to 1635 Ostade writes himself Ostaden, e.g. in the " Bagpiper " of 1635 in the Liechtenstein collection at Vienna. Later on he uses the See also:

long s (f), and occasionally he signs in capital letters. His pupils are his own See also:

BROTHER

brother See also:

ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac, Cornelis Bega, Cornelis Dusart and See also:

Richard Brakenburg. 2. ISAAC OSTADE (1621–1649) was born in Haarlem, and began his studies under Adrian, with whom he remained till 1641, when he started on his own See also:

account. At an early period he See also:

FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the influence of Rembrandt, and this is apparent in a " Slaughtered Pig " of 1639, in the gallery of See also:

Augsburg.

But he soon reverted to a style more suited to his brush. He produced pictures in 1641–T642 on the lines of his brother—amongst these, the " Five Senses," which Adrian afterwards represented by a " See also:

Man See also:

READING

reading a See also:

Paper," a " See also:

PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

Peasant tasting See also:

BEER

Beer," a " Rustic smearing his Sores with Ointment " and a " Countryman sniffing at a See also:

SNUFF (from " to snuff, " i.e. to inhale, to draw in through the nose; cf. Dutch snuf, scent, Ger. Schnupfen, a cold, catarrh, and Eng. " snuffle, " " sniff, " &c.)

Snuff-See also:

box." A specimen of Isaac's work at this period may be seen in the " Laughing Boor with a Pot of Beer," in the museum of Amsterdam; the cottage interior, with two peasants and three children near a See also:

FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire, in the See also:

Berlin museum; a " See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

Concert," with See also:

PEOPLE

people listening to singers accompanied by a See also:

PIPER, CARL, COUNT (1647-1716)

piper and See also:

FLUTE

flute player, and a " Boor stealing a See also:

KISS

Kiss from a Woman," in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. The See also:

low See also:

price he received for his pictures of this See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character—in which he could only See also:

hope to remain a See also:

SATELLITE (from the Lat. satelles, an attendant)

satellite of Adrian—induced him gradually to abandon the cottage subjects of his brother for landscapes in the See also:

FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of Esaias See also:

Van de Velde and Salomon Ruisdael. Once only, in 1645, he seems to have fallen into the old groove, when he produced the " Slaughtered Pig," with the boy puffing out a See also:

BLADDER (from A.S. blaeddre, connected with bl¢wan, to blow, cf. Ger. blase)

bladder, in the museum of See also:

LILLE

Lille. But this was an exception. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; a,Id, although he now selected his subjects either from village high streets or frozen canals, he gave fresh See also:

LIFE

life to the scenes he depicted by groups of people full of See also:

MOVEMENT

movement and animation, which he relieved in their coarse hurnours and sordid See also:

APPEARANCE (from Lat. apparere, to appear)

appearance by a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on the 16th See also:

OCTOBER

October 1649 having painted about 400 pictures (see H. de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the See also:

SKATING (Dutch schaats, a skate)

skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, See also:

Antwerp and Lille. Three of these examples See also:

bear the artist's name, spelt Isack van Ostade, and the See also:

DATES

dates of 1644 and 1645. The roadside inns, with halts of travellers, See also:

FORM (Lat. forma)

form a compactseries from 1646 to 1649.

In this, the last form of his art, Isaac has very distinct peculiarities. The air which pervades his See also:

composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by See also:

MOOR

moor See also:

SMOKE (from O. Eng. smeocan, to smoke, reek, cf. Dutch meek, Ger. Schmauch, probably allied to Gr. vol9caiv)

smoke. The trees are rubbings of See also:

UMBER

umber, in which the prominent foliage is tipped with touches hardened in a liquid state by See also:

AMBER

amber See also:

VARNISH

varnish mediums. The same principle applied to details such as glazed bricks or rents in the mud lining of cottages gives an unreal and conventional See also:

STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp to those particular parts. But these blemishes are forgotten when one looks at the broad contrasts of light and shade and the masterly figures of horses and riders, and travellers and rustics, or quarrelling children and dogs, poultry and cattle, amongst which a favourite See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place is always given to the See also:

white See also:

HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse, which seems as invariable an See also:

ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment as the grey in the skirmishes and fairs of Wouverman. But it is in See also:

winter scenes that Isaac displays the best qualities. The See also:

ABSENCE (Lat. absentia)

absence of foliage, the crisp See also:

ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere, the See also:

CALM

calm air of See also:

COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold See also:

JANUARY

January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to See also:

RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring the changes on See also:

OPAL

opal tints of great variety, upon which the figures emerge with masterly effect on the light background upon which they are thrown. Amongst the roadside inns which will best repay attention we should See also:

NOTICE

notice those of Buckingham Palace, the See also:

NATIONAL

National Gallery, the See also:

Wallace and Holford collections in England, and those of the Louvre, Berlin, Hermitage and See also:

ROTTERDAM

Rotterdam museums and the See also:

ROTHSCHILD

Rothschild collection at Vienna on the See also:

CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent. The finest of the See also:

ICE (a word common to Teutonic languages; cf. Ger. Eis)

ice scenes is the famous one at the Louvre. For paintings and etchings see See also:

Les Freres Ostade, by See also:

MARGUERITE

Marguerite van de Wiele (See also:

Paris, 1893). For his etchings seeL'fEuvrg d'Ostade, cu description See also:

des eaux-fortes de ce maitre, &c., by Auguste d'See also:

Orange (186o); and See also:

CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue raisonne de toutes les estampes qui ferment l'ceuvre See also:

GRAVE

grave d'Adrian van Ostade, by L. E.

Faucheux (Paris, 1862). (J. A. C.; P. G.

End of Article: OSTADE

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