_Nicolas Maes_ (Dutch: 1632-1693).
Maes (or, in more modern form, Maas), was a pupil of Rembrandt,
and ranks high among Dutch masters, being distinguished from
many of the _genre_ painters by his richer colouring. "He
assimilated the principles of his master," says Sir. F. Burton,
"without adopting his subjects. In the class of pictures by
which he is best known, namely, indoor scenes taken from
ordinary life, he unites subtlety of chiaroscuro, vigorous
colour, and great mastery in handling, with that true finish
which never becomes trivial. The figures are finely drawn, and
their action is perfect. Harmonies of red and black prevail
in these works--sometimes pervading the picture in subdued
tones; sometimes brought out in full contrasting force against
white. The smaller pictures by Maes in this Gallery are among
the finest examples of the former mode of treatment." Maes
entered Rembrandt's studio in 1650 and remained there four
years. He then returned to Dort, his native town, where he
lived till 1678. In that year he moved to Amsterdam, where he
remained to the end of his life, and was employed by most of
the distinguished persons of his time. In these latter years
he was mostly engaged in portraits. His earlier portraits (of
which No. 1277 is a good specimen) are worthy of a pupil of
Rembrandt. The later portraits are so different in style and
inferior in quality that some critics ascribe them to the
painter's son or some other artist of the same name. "Maes's
favourite colour," says Havard, "was red. No artist uses this
colour with more boldness or more success than he does in his
earlier works [note, _e.g._ the crimson curtain which forms the
background in 1277]. For this reason doubts have been raised if
he ever painted the series of large bewigged portraits which
have been attributed to him, sombre and morose faces, uniformly
set against a dark background. It is difficult to imagine the
brilliant painter of 'The Cradle' forgetting his skill in light
and shade and his love of nature, to give himself up, as in
these commonplace productions, to mannerism and affectation"
(_The Dutch School_, p. 100).