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| | ART / 4 / 2DAY |
 | | The portrait proves that Potter was no exception to the rule that seventeenth-century Dutch painters never match the life-size equestrian portraits of royalty and their ministers by Velázquez, Rubens, or Van Dyck |
 | | He is documented as a pupil of Jacob de Wet, a Rembrandt follower, and probably also knew the innovative prints done in the thirties by Moeyaert, Gerrit Bleker (active 1625-56), and Pieter van Laer, which prominently feature cattle, horses, and other livestock; he himself made etchings of animals. |
 | | Young Bull (1647, 236x339cm) _ In the work of Paulus Potter views of nature and animals are seen for their own sake, and not as a backdrop for human action. |
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