_Karel du Jardin_ (Dutch: 1622-1678).
This painter was the ablest of the followers of Nicolas
Berchem, and like that master often painted Italian scenery. He
stayed for some years in Rome, where his pictures were greatly
admired, and where, in the jovial artist circles of the day,
he was given the nickname of "Barbe de Bouc" (goat's-beard).
On his return from Italy he is said to have stayed some time
at Lyons, where he married a widow with whom he afterwards
settled in Holland. He resided at the Hague from 1656 to 1659,
and there was much influenced by the example of Paul Potter.
He next moved to Amsterdam, which he made his home for some
years. He returned in the end to the Italian haunts of his
early years, and died at Venice. In his best pastoral works,
the truth and finish of his execution, the brilliancy of their
atmosphere, and the harmonious colouring, are attractive. He
also painted portraits and large groups, and executed some good
etchings.
It has been said of Du Jardin that his works are "excellent when they
are not detestable," a remark which is well exemplified in these
pictures. No. 827 is at once vulgar in incident and unpleasant in
colour. No. 826, on the other hand, one of the pastoral idyls for which
Du Jardin is famous, is a _chef d'oeuvre_ of the painter (Sir Robert
Peel paid 930 guineas for it). No. 828 has a true Italian air, and
there is a touch of almost pathetic humour in the contrast between the
cow and the woman. It is the beast that has its eyes on the sunset and
enjoys the benediction of the evening hour. The woman is cumbered with
much serving, and spins with her back to the light.