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Jogular Morotario Sectory 20
Page 05
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.
The most important spoon in the Jamestown collection, and one of the most significant objects excavated, is an incomplete pewter spoon--a variant of the trifid, or split-end, type common during the 1650-90 period. Impressed on the handle (in the trefoil finial of the stem) is the mark of the maker, giving his name, the Virginia town where he worked, and the year he started business. This is the sole surviving "touch" or mark of an American pewterer of the 17th century. The complete legend, encircling a heart, reads: "IOSEPH COPELAND/1675/CHUCKATUCK." (Chuckatuck is a small Virginia village in Nansemond County, about 30 miles southeast of Jamestown.) Joseph Copeland later moved to Jamestown where he was caretaker of the statehouse from 1688-91. He may have made pewter in Virginia's first capital. His matchless spoon found in the old Jamestown soil is the oldest dated piece of American-made pewter in existence.
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