Like Ruskin, Reynolds paid greatest attention, and gave greatest praise, to Rembrandt, Rubens and Van Dyck, those painters who seemed best able to transcend the characteristics of the Dutch and Flemish schools. (And note that Reynolds, like Ruskin, also blurred the distinction between those schools: see Ruskin on Dutch and Flemish painting.) The most glaring of those characteristics was, for Reynolds, the reliance on particular and limited representations of nature, whether of landscape or the human figure. This was echoed by Ruskin in his criticism of the obsession with redundant detail, and so suggests that there was a parallel between Reynolds theory of general nature and Ruskin's truth to nature. However, Reynolds had developed a very different, and more inclusive, set of principles, and tended to write with greater generosity of other artists, especially Jan Steen and David Teniers.