NINETEENTH CENTURY: The Dutch painters, unlike the Belgians, have almost always been true to their own traditions and their own country. Even in decadence the most of them feebly followed their own painters rather than those of Italy and France, and in the early nineteenth century they were not affected by the French classicism of David. Later on there came into vogue an art that had some affinity with that of Millet and Courbet in France. It was the Dutch version of modern sentiment about the laboring classes, founded on the modern life of Holland, yet in reality a continuation of the style or _genre_ practised by the early Dutchmen. Israels (1824-) is a revival or a survival of Rembrandtesque methods with a sentiment and feeling akin to the French Millet. He deals almost exclusively with peasant life, showing fisher-folk and the like in their cottage interiors, at the table, or before the fire, with good effects of light, atmosphere, and much pathos. Technically he is rather labored and heavy in handling, but usually effective with sombre color in giving the unity of a scene. Artz (1837-1890) considered himself in measure a follower of Israels, though he never studied under him. His pictures in subject are like those of Israels, but without the depth of the latter. Blommers (1845-) is another peasant painter who follows Israels at a distance, and Neuhuys (1844-) shows a similar style of work. Bosboom (1817-1891) excelled in representing interiors, showing, with much pictorial effect, the light, color, shadow, and feeling of space and air in large cathedrals. [Illustration: FIG. 86.--MAUVE. SHEEP.] The brothers Maris have made a distinct impression on modern Dutch art, and, strange enough, each in a different way from the others. James Maris (1837-) studied at Paris, and is remarkable for fine, vigorous views of canals, towns, and landscapes. He is broad in handling, rather bleak in coloring, and excels in fine luminous skies and voyaging clouds. Matthew Maris (1835-), Parisian trained like his brother, lives in London, where little is seen of his work. He paints for himself and his friends, and is rather melancholy and mystical in his art. He is a recorder of visions and dreams rather than the substantial things of the earth, but always with richness of color and a fine decorative feeling. Willem Maris (1839-), sometimes called the "Silvery Maris," is a portrayer of cattle and landscape in warm sunlight and haze with a charm of color and tone often suggestive of Corot. Jongkind (1819-1891) stands by himself, Mesdag (1831-) is a fine painter of marines and sea-shores, and Mauve (1838-1888), a cattle and sheep painter, with nice sentiment and tonality, whose renown is just now somewhat disproportionate to his artistic ability. In addition there are Kever, Poggenbeek, Bastert, Baur, Breitner, Witsen, Haverman, Weissenbruch.