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160:, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such as glazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them.
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Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold
January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then
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Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching
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The interior at Berlin is lighted from a casement in the same
Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adriaen's cottage subjects for landscapes
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These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the
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of 1639, in the gallery of
Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641–1642 on the lines of his brother – amongst these, the Five Senses, which Adrian afterwards represented by a
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The first manifestation of Isaac's surrender of
Adriaen's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage,
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study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 in
Haarlem, having painted about 400 pictures (see H. de Groot, 1910).
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and
Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.
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316:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Ostade (cat. no. 19)
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the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of
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Dagelijckse aantekeninge, by
Vincent Laurensz van der Vinne, with an introduction by Bert Sliggers Jr., Haarlem, 1979
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One or more of the preceding sentences incorporates text from a publication now in the
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Catalogue raisonné de toutes les estampes qui forment l'œuvre grave d'Adrian van Ostade
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by Isaac van Ostade (c.1645) Oil on wood, 48,8 x 40 cm. National
Gallery, London
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267:. Vol. 20 (11th ed.). Cambridge University Press. p. 356.
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
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191:, by Marguerite van de Wiele (Paris, 1893). For his etchings see
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L'Œuvre d'Ostade, cu description des eaux-fortes de ce maître
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56:(bapt. June 2, 1621 – buried October 16, 1649) was a
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195:, etc., by Auguste d'Orange (1860); and
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292:Digital library for Dutch literature
199:, by L.E. Faucheux (Paris, 1862).
106:Countryman sniffing at a Snuff-box
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118:Boor stealing a Kiss from a Woman
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110:Laughing Boor with a Pot of Beer
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346:Dutch Golden Age painters
361:Dutch landscape painters
178:National Gallery, London
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264:Encyclopædia Britannica
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356:Dutch genre painters
320:Works and literature
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351:Dutch male painters
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126:Esaias van de Velde
94:Man reading a Paper
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182:Wallace Collection
124:in the fashion of
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330:Categories
322:at PubHist
286:(1718) by
277:(in Dutch)
203:References
249:(1911). "
85:Rembrandt
71:Biography
67:painter.
65:landscape
261:(ed.).
251:Ostade
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150:Antwerp
138:bladder
114:Concert
81:Adriaen
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