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Searchology Directory 08
Page 10
On January 21st we made a long and tedious march, rising all the time among slippery rocks along precipices, or sinking in swampy mud on the narrow trail. Picturesque waterfalls of great height were visible in volcanic vents, some square, others crescent-shaped, on the face of the mountain. The torrents, swollen by the heavy rains, were difficult to cross, my mules on several occasions being nearly swept away by the foaming current. We sank in deep red slush and in deep holes filled with water, but continued all the time to ascend a gentle but continuous incline. We travelled that day from six o'clock in the morning until six o'clock in the evening, rain pouring down upon us all the time. We were simply smothered in mud from head to foot.
The geological formation of the Andes in that particular region was remarkable, and more remarkable still was the British engineering triumph of constructing a railway from the sea to so high an elevation. In one or two places there were iron bridges of great height and ingenious construction. You felt a curious sensation as you flew over those bridges on the tiny car, and you saw between the rails the chasm underneath you; nor did you feel extraordinarily comfortable when, hundreds of feet down, down below, at the bottom of one chasm, you saw a railway engine which had leapt the rails and lay upside down in the middle of a foaming torrent.
Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.
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