reminded of the fact that though a people of the sea the Dutch do not
seem to possess a single strong marine painter. One looks in vain for
any pictures of the open sea reflecting the seafaring traditions and
activities of the Dutch, and if it were not for Mastenbroek's masterly
harbor pictures, one would have to console oneself over this lack of the
briny element with a view of the Amsterdam Marine Aquarium.
Mastenbroek's big canvas is full of life and well painted. It shows the
harbor of Rotterdam animated by a host of vessels of all kinds and
descriptions. While there is a fine feeling of loose accidental
arrangement about this big picture, it is nevertheless well composed.
His small canvas in the adjoining gallery is technically superb, and to
my mind the best canvas in the whole Dutch show. In the middle of the
same wall Gorter's very decorative autumnal landscape, of a group of
beech-trees, commends itself by an unusual feeling for colour and
design, so lacking in the two almost monochromatic, untemperamental
Witsens on either side. Almost opposite in the same gallery, the most
western in the Netherlands section, hangs a broadly painted canvas by
Breitner, of the timber harbor of Amsterdam. It is not so original a
subject as one is accustomed to see from Breitner, but fully deserving
of the best place on the wall. Thérèse van Duyl-Schwartze's portrait
alongside is equal to her usual performances, and very broad in style
and full of vigor. Jurres' "Don Quixote", Goedvriend's little canvas,
and Bauer's "Oriental Equestrian" should all be mentioned in this
gallery.

In the middle gallery, on the right of the big Mastenbroek, Christian
Addicks' "Mother and Child" charms by its richness of colouring, while
in the left corner hangs a very decorative still-life in the best manner
of such old Dutch painters as Hondekoeter. Nicolaas Bastert has a
typical Dutch canal, and Willy Sluiter a good study of a Volendam