DOUW (or Dow), GERHARD (1613168o)

This article appears in Volume V08, Page 451 of the Encyclopedia Britannica.

Encyclopedia Britannica - Main :: DIO-DRO

DOUW (or Dow), GERHARD (1613168o) , Dutch painter, was born at Leiden on the 7th of April 1613. His first instructor in drawing and

design

DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

was Bartholomew Dolendo, an engraver;and he afterwards learned the art of glass-painting under Pieter Kouwhoorn. At the age of fifteen he became a pupil of

Rembrandt

REMBRANDT (1606-1669)

, with whom he continued for three years. From the

great

GREAT

master of the Flemish school he acquired his skill in colour,: ing, and in the more subtle effects of chiaroscuro; and the style of

Rembrandt

REMBRANDT (1606-1669)

is reflected in several of his earlier pictures, notably in a portrait of himself at the age of twenty-two, in the Bridge-water

House

HOUSE
HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in
Gothic
- GOTHIC
it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

gallery, and in the " Blind Tobit going to meet his Son," at Wardour Castle. At a comparatively early point in his career, however, he had formed a manner of his own distinct from, and indeed. in some respects antagonistic to, that of his master. Gifted with unusual clearness of vision and precision of manipulation, he cultivated a minute and elaborate style of treatment ; and probably few painters ever spent more time and pains on all the details of their pictures down to the most trivial. He is said to have spent five days in painting a hand; and his

work

WORK

was so fine that he found it necessary to manufacture his own brushes. Notwithstanding the minuteness of his

touch

TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

, how-ever, the general effect was harmonious and free from stiffness, and his colour was always admirably fresh and transparent. He was fond of representing subjects in lantern or candle light, the effects of which he reproduced with a fidelity and skill which no other master has equalled. He frequently painted by the aid of a concave mirror, and to obtain exactness looked at his subject through a

frame

FRAME

crossed with squares of silk

thread

THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

. His practice as a portrait painter, which was at first considerable, gradually declined, sitters being unwilling to give him the time that he deemed necessary. His pictures' were always small in size, and represented chiefly subjects in still life. Upwards of zoo are attributed to him, and specimens are to be found in most of the

great

GREAT

public collections of Europe. His chef-d'ceuvreis generally considered to be the " Woman sick of the Dropsy," in the Louvre. The " Evening School," in the

Amsterdam

AMSTERDAM
AMSTERDAM (NEw AMSTERDAM)

gallery, is the best example of the candlelight scenes in which he excelled. In the National Gallery, London, favourable specimens are to be seen in the " Poulterer's Shop," and a portrait of himself. Douw's pictures brought high prices, and it is said that President Van Spiring of the Hague paid him l000 florins a year simply for the right of pre-emption. Douw died in 1680. His most celebrated pupil was Francis Mieris.

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