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The Cover
September 26, 2007


Author Affiliations

The Cover Section Editor: M. Therese Southgate, MD, Senior Contributing Editor.

JAMA. 2007;298(12):1371. doi:10.1001/jama.298.12.1371

In many respects Dutch painting of the late 18th and early 19th centuries seems to be little more than a reprise of that of the 17th century; it is as though the younger generations, loathe to move on, were eager to bask one last time in the rays of their fathers' glory before the Golden Age of Dutch 17th-century painting disappeared forever beyond the horizon. No doubt many of the imitators of the Masters meant to pay the highest form of homage; on the other hand, not a few, perhaps, could have been motivated by greed. One of the more significant painters of the former group was Abraham van Strij (1753-1826) of Dordrecht. With his brother Jacob, his father Leendert, and his son Abraham II, they formed a mini-dynasty whose efforts helped reestablish interest in 17th-century Dutch painting. Both brothers, but especially Jacob, excelled in landscape painting in the style of Aelbert Cuyp, one of the most important landscape artists of the 17th century and a lifelong resident of Dordrecht (JAMA cover, August 11, 1978). Abraham also painted Dutch interiors in the style of the 17th-century Delft painter Pieter de Hooch ( JAMA cover, May 9, 2001), the Amsterdamer Gabriel Metsu (JAMA cover, April 6, 2005), and the Dordrecht-born Nicolaes Maes. Sometimes, especially in the lighting, one is even reminded of Vermeer, though the subject itself may lack Vermeer's deft touch.

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