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Copyright Statement This Copy of the Thesis Has Been Supplied on Condition That Anyone Who Consults It Is Understood to Recognis University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dutch Artists in England: Examining the Cultural Interchange between England and the Netherlands in 'Low' Art in the Seventeenth Century. Ruddock, Joanna Mavis http://hdl.handle.net/10026.1/8632 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 1 Dutch Artists in England: Examining the Cultural Interchange between England and the Netherlands in ‘Low’ Art in the Seventeenth Century. by Joanna Mavis Ruddock A thesis submitted to Plymouth University in partial fulfillment for the degree of ResM Art History Arts and Humanities Doctoral Training Centre April 2016 2 Contents I. Abstract 4 II. List of Illustrations 6 III. Acknowledgements 9 IV. Authors declaration and word count 11 V. Introduction 12 VI. Chapter One - Research Methodology 20 VII. Chapter Two – Marine 34 VIII. Chapter Three – Landscape 64 IX. Chapter Four – Still Life 80 X. Conclusion 105 XI. Bibliography 109 3 Joanna Mavis Ruddock – Dutch Artists in England: Examining the Cultural Interchange between England and the Netherlands in ‘Low’ Art in the Seventeenth Century. The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. 4 Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide. 5 List of Illustrations: Chapter One: Johannes Vermeer, The Art of Painting [also known as The Allegory of Painting], c1666, oil on canvas, dimensions: 120 x 100cm, Kunsthistorisches Museum, Vienna. (Figure 1.1) Source: http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5 TnQkVn0vew%3D%3D&userId=gzRDeDwm&zoomparams= Chapter Two: Aert Antonisz (Aart van Antum), An English and Dutch ship Attacking a Spaniard, c1610, oil on panel, dimensions: 34.5 x 49.5 cm, National Maritime Museum, London. (Figure 2.1) Source: http://collections.rmg.co.uk/collections/objects/12206.html Reinier Nooms, A Battle of the First Dutch War, 1652–1654, c.1654, Oil on canvas, dimensions: 101.6 x 152.4 cm, National Maritime Museum, London. (Figure 2.2) Source: http://collections.rmg.co.uk/collections/objects/11765.html Abraham de Verwer, A Dutch and An English Ship off a Harbour, c1625, oil on copper, dimensions: 12.7 x 25.4 cm, National Maritime Museum, London. (Figure 2.3) Source: http://collections.rmg.co.uk/collections/objects/12224.html Hendrick Vroom, The Return of Princes Charles and the Duke of Buckingham from Spain, 1623, oil on canvas, 127 x 297.2 cm, National Martime Museum, London. (Figure 2.4) Source: http://collections.rmg.co.uk/collections/objects/12202.html Cornelis Claesz van Wieringen, A Dutch Merchantman Attacked by an English Privateer, off La Rochelle, 1616, oil on panel, dimensions: 87.7 x 166.4 cm, National Maritime Museum, London. (Figure 2.5) Source: http://collections.rmg.co.uk/collections/objects/12215.html Abraham Willaerts, Action between Ships in the First Dutch War, 1652-1654, oil on canvas, dimensions: 100.3 x 124.5 cm, National Maritime Museum, London. (Figure 2.6) Source: http://collections.rmg.co.uk/collections/objects/12315.html Heerman Witmont, Action between Dutch and English Ships, no date?, oil on panel, dimensions: 50 x 69cm, National Maritime Museum, London. (Figure 2.7) Source: http://collections.rmg.co.uk/collections/objects/13707.html Ludolf Backhuysen, An English Yacht Sailing into Plymouth, undated, oil on canvas, dimensions: 85 x 113 cm, National Maritime Museum, London. (Figure 2.8) Source: http://collections.rmg.co.uk/collections/objects/15651.html Ludolf Backhuysen, The Foundering of the 'Coronation' 90 Guns at Rame Head, 1691, oil on canvas, dimensions: 147.3 x 231.1 cm, Sir Max Aitken Museum, Isle of Wight. (Figure 2.9) Source: http://artuk.org/discover/artworks/the-foundering-of-the- coronation-90-guns-at-rame-head-16938 6 Ludolf Backhuysen, An English Vessel and a Man-of-war in a Rough Sea off a Coast with Tall Cliffs, c1680s, oil on canvas, dimensions: 98.5 x 132 cm, National Gallery, London. (Figure 2.10) Source: http://www.nationalgallery.org.uk/paintings/ludolf- bakhuizen-an-english-vessel-and-a-man-of-war-in-a-rough-sea Jacob Knyff, Dock Scene at a British Port, 1673, oil on canvas, dimensions: 96.5 x 127cm, National Maritime Museum, London. (Figure 2.11) Source: http://collections.rmg.co.uk/collections/objects/12337.html Willem van de Velde the Younger, Plymouth in 1666, c1670, oil on canvas, dimensions: 53 x 89cm, Plymouth Museum and Art Gallery, Plymouth. (Figure 2.12) Source: http://artuk.org/discover/artworks/plymouth-in-1666-148195 Chapter Three: Thomas Wijck, Whitehall and St James' Park, London, c1660?, dimensions: 44 x 74cm, Bank of England Museum, London, (Figure 3.1) Source: http://artuk.org/discover/artworks/whitehall-and-st-jamess-park-london-50273 Jan Wijck, A Dutch Mastiff (called 'Old Vertue') with Dunham Massey in the Background, c1690s, dimensions: 61 x 75cm, Dunham Massey, Cheshire. (Figure 3.2) Source: http://www.nationaltrustcollections.org.uk/object/932341 Alexander Keirincx, Distant View of York, 1639, oil on oak, dimensions: 52.9 x 68.7cm, Tate, London. (Figure 3.3) Source: http://www.tate.org.uk/art/artworks/keirincx-distant-view-of-york-t04168 Claude de Jongh, The Thames at Westminster Stairs, 1631-1637, oil on panel, dimensions: 46.4 x 80cm, Yale Center for british Art, Connecticut, USA. (Figure 3.4) Source: http://collections.britishart.yale.edu/vufind/Record/1669214 Johannes Vorsterman, London from Greenwich Hill, c1680, dimensions: 108 x 182cm, National Maritime Museum, London. (Figure 3.5) Source: http://collections.rmg.co.uk/collections/objects/13288.html Chapter Four: Simon Pietersz Verelst, Group of Flowers, after 1669, oil on canvas, 44 x 32cm, The Fitzwilliam Museum, Cambridge. (Figure 4.1) Source: http://artuk.org/discover/artworks/group-of-flowers-4399 Vincent Laurensz van der Vinne, Vanitas with Royal Crown, (after) 1649, oil on canvas, 95 x 69cm, Musee de Louvre, France. (Figure 4.2) Source: http://www.wga.hu/html_m/v/vinne/vincent/vanitas.html Vincent Laurensz van der Vinne, Still Life of a Print of King Charles I and an Upturned Crown, 1649-1702, oil on canvas, dimensions: 39.0 x 33.5 cm, Anglesey Abbey, Cambridgeshire. (Figure 4.3) Source: http://www.nationaltrustcollections.org.uk/object/515532 7 Edwaert Collier, Trompe l’oeil Letter Rack, 1700, oil on canvas, dimensions: 64 x 73cm, The Hunterian Museum and Art Gallery, Glasgow, Scotland. (Figure 4.4) Source: http://www.huntsearch.gla.ac.uk/cgi- bin/foxweb/huntsearch/LargeImage.fwx?collection=art&catno=43515&filename=435 15.JPG Edwaert Collier, Still Life, 1699, Oil on canvas, dimensions: 76.2 x 63.5cm, Tate, London. (Figure 4.5) Source: http://www.tate.org.uk/art/artworks/collier-still-life- n05856 Edwaert Collier, Still Life with a Volume of Wither’s ‘Emblemes’, 1696, Oil on canvas, dimensions: 83.8 x 107.9cm, Tate, London. (Figure 4.6) Source: http://www.tate.org.uk/art/artworks/collier-still-life-with-a-volume-of-withers- emblemes-n05916 Edwaert Collier, Trompe l’Oeil with Writing Materials, c1702, Oil on canvas, dimensions: 51.5 x 63.7cm, V&A Museum, London. (Figure 4.7) Source: http://collections.vam.ac.uk/item/O17810/trompe-loeil-with-writing-materials-oil- painting-colyer-edwaert/ Edwaert Collier, Letter Rack, c1698, Oil on canvas, dimensions: 48.5 x 61.5 cm, Art Gallery of South Australia, Adelaide.
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