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Dividend Two Directory 06
Page 10
The idea of Evolution has influenced all the sciences, forcing us to think of _everything_ as with a history behind it, for we have travelled far since Darwin's day. The solar system, the earth, the mountain ranges, and the great deeps, the rocks and crystals, the plants and animals, man himself and his social institutions--all must be seen as the outcome of a long process of Becoming. There are some eighty-odd chemical elements on the earth to-day, and it is now much more than a suggestion that these are the outcome of an inorganic evolution, element giving rise to element, going back and back to some primeval stuff, from which they were all originally derived, infinitely long ago. No idea has been so powerful a tool in the fashioning of New Knowledge as this simple but profound idea of Evolution, that the present is the child of the past and the parent of the future. And with the picture of a continuity of evolution from nebula to social systems comes a promise of an increasing control--a promise that Man will become not only a more accurate student, but a more complete master of his world.
More interesting to me than the river itself were the wonderful effects of the ever-changing light in the sky. I saw no more the wonderful radiations which had given me so much pleasure in Matto Grosso, but we beheld here a great haze of delicate tones up to a great height and a light blue sky above it. The clouds seemed to possess no well-defined form, but were more like masses of mist, the edges blending gradually with the blue of the sky. Only to the west was there an attempt at globular formation in the clouds. The clouds of heavy smoke which rose and rolled about over the landscape helped to render the otherwise monotonous scene a little more picturesque.
The real inaugurators of Dutch portraiture were Mierevelt, Hals, Ravesteyn, and De Keyser. Mierevelt (1567-1641) was one of the earliest, a prolific painter, fond of the aristocratic sitter, and indulging in a great deal of elegance in his accessories of dress and the like. He had a slight, smooth brush, much detail, and a profusion of color. Quite the reverse of him was Franz Hals (1584?-1666), one of the most remarkable painters of portraits with which history acquaints us. In giving the sense of life and personal physical presence, he was unexcelled by any one. What he saw he could portray with the most telling reality. In drawing and modelling he was usually good; in coloring he was excellent, though in his late work sombre; in brush-handling he was one of the great masters. Strong, virile, yet easy and facile, he seemed to produce without effort. His brush was very broad in its sweep, very sure, very true. Occasionally in his late painting facility ran to the ineffectual, but usually he was certainty itself. His best work was in portraiture, and the most important of this is to be seen at Haarlem, where he died after a rather careless life. As a painter, pure and simple, he is almost to be ranked beside Velasquez; as a poet, a thinker, a man of lofty imagination, his work gives us little enlightenment except in so far as it shows a fine feeling for masses of color and problems of light. Though excellent portrait-painters, Ravesteyn (1572?-1657) and De Keyser (1596?-1679) do not provoke enthusiasm. They were quiet, conservative, dignified, painting civic guards and societies with a knowing brush and lively color, giving the truth of physiognomy, but not with that verve of the artist so conspicuous in Hals, nor with that unity of the group so essential in the making of a picture.
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