By far the best painter among all the "Little Dutchmen" was Terburg (1617?-1681), a painter of interiors, small portraits, conversation pictures, and the like. Though of diminutive scale his work has the largeness of view characteristic of genius, and the skilled technic of a thorough craftsman. Terburg was a travelled man, visiting Italy, where he studied Titian, returning to Holland to study Rembrandt, finally at Madrid studying Velasquez. He was a painter of much culture, and the keynote of his art is refinement. Quiet and dignified he carried taste through all branches of his art. In subject he was rather elevated, in color subdued with broken tones, in composition simple, in brush-work sure, vivacious, and yet unobtrusive. Selection in his characters was followed by reserve in using them. Detail was not very apparent. A few people with some accessory objects were all that he required to make a picture. Perhaps his best qualities appear in a number of small portraits remarkable for their distinction and aristocratic grace. Steen (1626?-1679) was almost the opposite of Terburg, a man of sarcastic flings and coarse humor who satirized his own time with little reserve. He developed under Hals and Van Ostade, favoring the latter in his interiors, family scenes, and drunken debauches. He was a master of physiognomy, and depicted it with rare if rather unpleasant truth. If he had little refinement in his themes he certainly handled them as a painter with delicacy. At his best his many figured groups were exceedingly well composed, his color was of good quality (with a fondness for yellows), and his brush was as limpid and graceful as though painting angels instead of Dutch boors. He was really one of the fine brushmen of Holland, a man greatly admired by Sir Joshua Reynolds, and many an artist since; but not a man of high intellectual pitch as compared with Terburg, for instance.