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Fantasimus Directory 05
Page 09
I left Tarma on January 29th, following a well-cultivated valley, fairly thickly inhabited. We were travelling over a good mule-track, swarming with Indians, donkeys, mules, and horses. The mud houses and land on either side were enclosed by hedges of cacti, or by walls. We were between barren mountains of a brownish colour, against which the quaint, brightly-coloured costumes of the many people on the road were thrown out in vivid contrast. Most of the houses were constructed of large mud bricks, sun-dried. The crops seemed to consist chiefly of Indian corn. As we went farther, among dark brown rocks and limestone, we came to grottoes and rock habitations. At some remote period there must have been a great upheaval in that country--at least, judging by the sedimentary foliated rock, the strata of which were from one to three feet thick, and which had originally been deposited horizontally by water. These accumulations or sediments now stood up at an angle of 45 deg.. We were now in a region where llamas were plentiful--most delightful animals, with their pointed ears pricked up, their luxuriant coats, and stumpy curled tails.
Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.
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