Пост 153. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 68

229. For other works by Van den Bundel, see Briels 1987, pp. 321, 325, fig. 406

(strongly recalling Van de Venne), pp. 348-50, figs. 446, 447 (the latter

dated 1641), and Briels 1997, figs. 340, 348, 353.

230. Montias 1982, pp. 125-26.

231. Ibid., p. 198.

232. Ibid., pp. 208-9 (on Reynier Vermeer), 257 (Delft inventories).

233. The Hague 1998-99a, pp. 309-10, also recording a Pieter Groenewegen the

Younger at The Hague. Briels ( 1997, p. 321) describes Groenewegen as having

a pupil in Haarlem; I have not been able to check the record.

234. Another artist who painted this type of picture in Utrecht was Carel de Hooch

(active ca. 1627-38), who was not (as claimed by Walther Bernt and others)

Pieter de Hooch's father. My thanks to Marijke de Kinkelder of the Rijksbureau

voor Kunsthistorische Documentatie, The Hague, for bringing Van Vliet's

landscape to my attention, and to Richard Verdi for the photograph.

235. Montias 1982, pp. 80-81.

236. Ibid., p. 257.

237. See ibid., p. 252, on works by Van Goyen in Delft. His View of Delft dated

1654 (H.-U. Beck 1972-91, vol. 2, no. 420) is now in the Prinsenhof, Delft.

On Van Asch as an occasional follower ofVan Goyen, see H.-U. Beck 1972-91,

vol. 4, pp. 22-24, where the illustrations actually point to Salomon Van

Ruysdael and (pl. 1) Philips Koninck.

238. Similarly, a River Landscape in the Kunstmuseum, Dusseldorf, of about 1655

is divided into greens, yellows, and blues like a Haarlem work of the 1620s.

239. See, for example, the two works sold at Christie's, Amsterdam, May 4, 1999,

nos. 31, 33.

240. See, for example, the work illustrated by Eric Jan Sluijter in Delft 1981,

fig. 205 (said by Sluijter, p.181, to have a cetain naive charm); the Hawking

Party in the Glasgow Art Gallery and Museum; and the Travelers on a

Country Road sold at Phillips, London, December 7, 1993, no. 64.

241. As maintained in Weber 1994, following the suggestion of J. Nieuwstraten.

Compare Weber's fig. 4 (location unknown) and the late panel in the Rijksmuseum,

Amsterdam (no. C88). Van Asch's Self-Portrait is in the same collection.

242. See Goodman-Soellner 1989, pp. 76-88.

243. Not Rijswijk, however, as is often stated: see The Hague 1994-95, no. 9, the

superb picture in the duke ofWestminster's collection.

244. See Walsh's biography in ibid., pp. 10-19.

245. Houbraken 1718-21, vol. 2, p. 127. See Walsh in The Hague 1994-95, p. 13,

and no. 15 by Buijsen.

246. Quoted by Buijsen in The Hague 1994-95, p. 99 (seen. 4).

247. See Sluijter 1993, chap. 4, especially p. 58 (where Huygens is also mentioned,

but in regard to Johannes Torrentius's "lifeless" manner). The quote from

Huygens is taken from the translation in Keyes 1984, pp. 12-13.

248. See A.-M. S. Logan 1979, pp. 83-84, n. 96.

249. In C. Brown 1995b, p. 267, we are warned that "the hofdichten, however, are

products of a mannered literary convention, riddled with classical allusions

and viewing the countryside from the warmth of the salon." True

enough, but its classical learning is not what makes Huygens's Hofwijck,

which is cited by Brown, remarkable in the history of Dutch literature.

In Ten Brink 1897, p. 455, the poem is cited among three examples of Huygens's

"topographisch-humoristische dichtpen"; see also Schenkeveld 1991, pp. 98-99,

102-4, where the poem is considered one instance of "a new type of thinking",

emphasizing empirical observation and personal experience (p. 99 ).