The Italianising influence was already beginning to make itself felt,
to the lasting detriment of Dutch painting, and the typical example
of this downward movement is Nicolaes Berchem (1620-1683), who was
founded on his father, Pieter Claesz, and on Pieter de Grebber, and Jan
Wils at Haarlem, while he also was impressed by Claes Moyaert and J.
B. Weenix at Amsterdam, where he removed in 1677. There is scarcely a
well-furnished gallery in Europe that does not seek to pride itself on
possessing one of Berchem’s renderings of _Crossing the Ford_, or a
_Woman upon an Ass in conversation with another Person_. The Louvre is
no exception to this rule, and exhibits his _Cattle crossing a Ford_
(No. 2315) and nine other canvases and panels, nearly all of which bear
his much-vaunted signature. His art is to-day deservedly out of fashion
with discerning collectors.
Berchem’s pupil, Karel du Jardin (1622-1678), who is invariably at
much pain to sign his pictures, is seen to some advantage in his very
Italian and in every way characteristic _Italian Charlatans_ (No.
2427), the typical _Ford in Italy_ (No. 2428), and eight other works.
His attempts to depict a _Calvary_ (No. 2426) have not been crowned
with success, as the composition is overcrowded and undramatic; nor do
we experience any emotion on regarding his _Portrait of Himself_ (No.
2434), a small production on copper.
Breenberg (1599-1659?), who was born at Deventer, the home of Terborch,
has depicted a _View of the Campo Vaccino at Rome_ (No. 2334), and a
_Ruins of the Palace of the Cæsars_ (No. 2335) in the Italian manner
beloved by Berchem and Pieter van Laer. The latter, who is also
named Bamboccio, is represented by two small oval panels. Lingelbach
(1622-1674), who frequently collaborated with other Dutch artists, may
be judged by his _Vegetable Market at Rome_ (No. 2447) and three other
canvases, and Frédéric de Moucheron (1633?-1686) by a _Leaving for the
Hunt_ (No. 2482). It will be convenient to mention here Reynier Nooms,
whose _View of the Old Louvre from the Seine_ (No. 2491) has some
historical interest.