DOCSLIB.ORG

Ontdek Prentkunstenaar, Schilder, Tekenaar Pieter Soutman

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ontdek Prentkunstenaar, Schilder, Tekenaar Pieter Soutman 74051 2 afbeeldingen Pieter Soutman man / Noord-Nederlands, Zuid-Nederlands prentkunstenaar, schilder, tekenaar, decoratieschilder (van interieurs), hofschilder Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Soutman, Pieter Claesz. Kwalificaties prentkunstenaar, schilder, tekenaar, decoratieschilder (van interieurs), hofschilder court painter of Poland: signed 'Pittore de Sue Maesta de Polonia') Nationaliteit/school Noord-Nederlands, Zuid-Nederlands Geboren Haarlem 1593/1601 ca. 1593-1601; as he became assistent of Rubens in 1616, after his training, he was probaly born ca. 1593-1601. Overleden Haarlem 1657-08-16 Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. youngest of six childeren of the catholic Claes Steffensz Soutman (died before 16 January 1620, brewer of 'De Weerelt' at the Spaarne in Haarlem) and Josina Arentszdr Calantius (married after 18 January 1582). Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Rubens, Peter Paul became assistent of Rubens in Antwerp Deze persoon/entiteit in andere databases 86 treffers in RKDimages als kunstenaar 2 treffers in RKDlibrary als onderwerp 147 treffers in RKDexcerpts als kunstenaar 5 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1593 Sterfplaats Haarlem Plaats van werkzaamheid Antwerpen Plaats van werkzaamheid Polen Plaats van werkzaamheid Haarlem Kwalificaties prentkunstenaar Kwalificaties schilder Kwalificaties tekenaar Kwalificaties decoratieschilder (van interieurs) Kwalificaties hofschilder Materiaal/techniek olieverf Product devotieprent Onderwerpen christelijk religieuze voorstelling Onderwerpen historie (als genre) Onderwerpen portret Lid van vereniging Sint-Lucasgilde (Antwerpen) Lid van vereniging Sint-Lucasgilde (Haarlem) Lid van vereniging Sint-Jakobsgilde (Haarlem) Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Antwerpen 1616 - 1624 c. 1616-1624 Polen 1624 - 1628 According to Van Thiel-Stroman, Soutman may have been in Poland from 1624 until 1628, or else only for a short visit in October 1628 (Van Thiel-Stroman 2006, p. 305); he received the title of court painter to Poland. Haarlem 1628 - 1657 Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'. Matham, Jacob possibly pupil of Jacob Matham (Van Thiel-Stroman 2006, p. 305) Leraar van in dit veld worden namen van leerlingen vermeld. Het gaat hier om die leerlingen waarbij de leraar een relevante rol heeft gespeeld in diens vorming, dus niet om alle academieleerlingen die iemand heeft gehad. Zie ook het veld 'Opleiding'. Louys, Jacob (1595-na 1635) Sompel, Pieter van Visscher, Cornelis (II) Visscher, Lambert Onderwerpen In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur. christelijk religieuze voorstelling, historie (als genre), portret Materiaal/techniek olieverf Product devotieprent Lid van Sint-Lucasgilde (Antwerpen) Sint-Lucasgilde (Haarlem) 1628 Sint-Jakobsgilde (Haarlem) member in 1637, 'vinder' in 1652 (Heerkens Thijssen 1955) Literatuur Literatuur in RKDLibrary 2 treffers in RKDlibrary als onderwerp Ampzing/Scriverius 1628 Houbraken 1718-1721 , vol. 1, p. 76 (as: Pieter Soutman (Pieter Klaasze Soutman)) Kramm 1857-1864 , vol. 6 (1862), p. 1545; sup. p. 139 Von Wurzbach 1906-1911 , vol. 2, p. 642-643 Thieme/Becker 1907-1950 , vol. 31 (1937), p. 313 Waller 1938/1974 , p. 308 Hollstein et al. 1949-2010 , vol. 27 (1983), p. 223-234 Heerkens Thijssen 1955 , p. 19, 34 Ober/Thijssen/De Leeuw 1978 , p. 28-29 Gerson 1942/1983 , p. 501 Witt Checklist 1978 Van Thiel 1990-1991 , p. 55 note 73 Merle du Bourg 2004 , passim Verheggen 2006 , passim Barrett 2012 , passim P.G. Hamberg, 'Kämpabilderna paa Läckö i ny belysning', Fornvännen, Journal of Swedish Antiquarian Research (1956), p. 123-132 P.C. Sutton, 'A Famliy Divided', Mercury (1992), no. 13/14, p. 9-13 I. van Thiel-Stroman, 'Pieter Claes Soutman‘, in: Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Ghent- Haarlem 2006, p. 305-311 K. Barrett, 'Mijn Heer: Letters from Pieter Soutman to Constantijn Huygens', Oud Holland 122 (2009), p. 155-159 Documentatie RKD In dit veld worden de standplaatsen vermeld van documentatiemateriaal in het RKD. De meeste standplaatsen verwijzen naar de kunsthistorische beelddocumentatie. Daarnaast treft u verwijzingen naar persdocumentatie aan (knipsels en klein drukwerk). BD/RKD/0130 - ONT/Religie, mythologie, allegorie, historie en literatuur BD/RKD/0138 - ONT/Genre: soldaten, ruiters en jagers BD/RKD/0144 - ONT/Portretten en koppen BD/RKD/0148 - ONT/Studies/kopieën naar andere kunstenaars BD/RKD/0172 - ONT/Dieren en gedrochten BD/RKD/0276 - ONT/Grafiek BD/RKD/0278 - ONT/Voorordening tekenkunst BD/RKD/0280 - ONT/Originele grafiek (op inventor) BD/RKD/0348 - ONS/Historie: Rubens en anonieme school BD/RKD/0542 - ONS/Historie 2 BD/RKD/0606 - ONS/Portretten 1 BD/RKD/0642 - ONS/Decoratieve schilderkunst BD/RKD/0800 - ONS/Voorordening schilderkunst BD/RKD/IB BD/RKD/Witt-microfiches Project Inventarisatie Decoratieve Interieurschilderingen in Nederland (1600-1940) Gerson Digital : Polen (Ausbreitung) Gerson Digital : Zweden (Ausbreitung) Externe links this artist in Ecartico Permalink https://rkd.nl/explore/artists/74051 Ingevoerd op: 1992-01-25; Laatste wijziging: 2021-05-11 RKD – Nederlands Instituut voor Kunstgeschiedenis Prins Willem-Alexanderhof 5 (KB-complex) 2595 BE Den Haag Nederland Openingstijden Bekijk de actuele openingstijden van het RKD Contact T: 070 3339777 E: [email protected] Meer Privacybeleid Disclaimer Leveringsvoorwaarden Facebook Twitter Linkedin Instagram.
Load more

Recommended publications
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • November 2012 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014)
    [Show full text]
  • The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • The Consummate Etcher and Other 17Th Century Printmakers SYRACUSE UNIVERSITY
    THE CONSUMMATE EtcHER and other 17TH Century Printmakers SYRACUSE UNIVERSITY ART GALLERIES THE CONSUMMATE EtcHER and other 17th Century Printmakers A Celebration of Louise and Bernard Palitz and their association with The Syracuse University Art Galleries curated by Domenic J. Iacono CONTENTS SEptEMBER 16- NOVEMBER 14, 2013 Louise and Bernard Palitz Gallery Acknowledgements . 2 Lubin House, Syracuse University Introduction . 4 New York City, New York Landscape Prints . 6 Genre Prints . 15 Portraits . 25 Religious Prints . 32 AcKNOWLEDGEMENTS The Syracuse University Art Galleries is proud to Mr. Palitz was a serious collector of fine arts and present Rembrandt: The Consummate Etcher and after attending a Museum Studies class as a other 17th century Printmakers. This exhibition guest, offered to help realize the class lectures primarily utilizes the holdings of the Syracuse as an exhibition. We immediately began making University Art Collection and explores the impact plans to show the exhibition at both our campus of one of Europe’s most important artists on the and New York City galleries. printmakers of his day. This project, which grew out of a series of lectures for the Museum Studies The generosity of Louise and Bernard Palitz Graduate class Curatorship and Connoisseurship also made it possible to collaborate with other of Prints, demonstrates the value of a study institutions such as Cornell University and the collection as a teaching tool that can extend Herbert Johnson Museum of Art, the Dahesh outside the classroom. Museum of Art, and the Casa Buonarroti in Florence on our exhibition programming. Other In the mid-1980s, Louise and Bernard Palitz programs at Syracuse also benefitted from their made their first gift to the Syracuse University generosity including the Public Agenda Policy Art Collection and over the next 25 years they Breakfasts that bring important political figures to became ardent supporters of Syracuse University New York City for one-on-one interviews as part and our arts programs.
    [Show full text]
  • 3. Vermeylen.Indd 138 12/12/2012 11:42:00 AM Rubens and Goltzius in Dialogue 139
    De Zeventiende Eeuw 28 (2012) 2, pp. 138-160 - eISSN: 2212-7402 - Print ISSN: 0921-142x Rubens and Goltzius in dialogue Artistic exchanges between Antwerp and Haarlem during the Revolt Filip Vermeylen and Karolien De Clippel Filip Vermeylen (Ph.D. Columbia University 2002) is an Associate Professor at the Erasmus School of History, Culture and Communication at the Erasmus University in Rotterdam. He lectures and publishes on various aspects of the economics of art and culture, past and present, and with a particular focus on art markets. Since 2009, he is the director of an nwo-research project entit- led ‘Artistic exchanges and cultural transmission in the Low Countries, 1572-1672: mobility of artists, works of art and artistic knowledge’. His book Painting for the market. Commercialization of art in Antwerp’s Golden Age won the Robert Bainton Prize for Art History in 2006. [email protected] Karolien De Clippel (Ph.D. ku Leuven 2002) is an Associate Professor at the Department of History and Art History of Utrecht University. She specializes in Early Modern painting of the Low Countries, with a particular focus on genre and classical mythology and with a special incli- nation for individual artists such as Peter Paul Rubens and Adriaen Brouwer. Since 2009, she is the co-director of an nwo-research project entitled ‘Artistic exchanges and cultural transmission in the Low Countries, 1572-1672: mobility of artists, works of art and artistic knowledge’. [email protected] Abstract The Haarlem school of painting is considered to be an archetype of the Dutch Golden Age, whereby a quintessential Dutchness is said to emanate from its famous landscape and genre paintings.
    [Show full text]
  • April 2007 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
    [Show full text]
  • Bartholomeus Van Der Helst (Circa 1613-1670): Een Studie Naar Zijn Leven En Zijn Werk
    Bartholomeus van der Helst (circa 1613-1670): een studie naar zijn leven en zijn werk Bartholomeus van der Helst (c. 1613-1670): a Study of his Life and his Work (with a summary in English) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. J.C. Stoof, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 11 februari 2011 des middags te 2.30 uur door Judith Frans Joseph Maria van Gent geboren op 1 december 1960 te Zevenaar Promotor: Prof.dr. R.E.O. Ekkart Promotor: Prof.dr. V. Manuth Dit proefschrift is (mede) mogelijk gemaakt dankzij financiële steun van NWO en het Amsterdam Museum Inhoud Voorwoord 3 Inleiding 7 Waardering in de zeventiende en achttiende eeuw 7 Waardering in de negentiende eeuw 11 Waardering in de twintigste eeuw 16 Onderzoeksgeschiedenis 19 Het leven van Bartholomeus van der Helst 27 Voorouders 27 Jeugd en opleiding 31 Huwelijk en familieleven 34 Collegiale contacten 39 Financiële positie 42 Laatste jaren en nalatenschap 43 De opdrachtgevers van Bartholomeus van der Helst 47 1637-1642 47 Debuut: opdrachten uit de Waalse gemeenschap 48 Doorbraak: opdrachten van de familie Bicker 49 1642/43-1650 51 Portretten van Zuid-Nederlanders 53 Intermezzo: Rotterdamse opdrachtgevers 54 Op weg naar het hoogtepunt: Cornelis Jansz. Witsen 56 1650-1660 60 Regentenstukken 61 Opdrachten van rijke middenstanders 64 Opdrachten van de families Trip en De Geer 66 Opdrachten van niet-Amsterdammers 68 1660-1670 70 Opdrachten van
    [Show full text]
  • Rubens and His Printmakers Printmake S
    DATE: Friday, June 23, 2006 FOR IMMEDIATE RELEASE RELATED EXHIBITION EXHIBITION EXPLORES THE COLLABORATIVE PROCESS USED BY RUBENS TO REPRODUCE QUALITY COPIES OF HIS WORKS Rubens and His Printmakers At the J. Paul Getty Museum, the Getty Center, Peter Paul Rubens (1577-1640) July 5–September 24, 2006 and Jonas Suyderhoef (ca. 1610-1686) Drunken Silenus (detail), after 1640 Etching and drypoint 35 x 28 cm Research Library, The Getty Research Institute, Los Angeles 2003.PR.132 LOS ANGELES—At the height of his career, Peter Paul Rubens (1577–1640) employed a small army of printmakers to reproduce his works, thereby increasing his reach and fame throughout Europe. Rubens’ close collaboration with these artists and their experiments in printmaking is the subject of a new exhibition Rubens and His Printmakers, at the J. Paul Getty Museum, the Getty Center, July 5–September 24, 2006. Rubens’ strict control of the reproductive process resulted in exceptionally expressive images that boldly translated the essence of the master’s works. The innovative techniques developed to evoke the tonal qualities of Rubens’ style contributed significantly to the advancement of printmaking - and were practiced well into the 19th century. After Rubens’ death in 1640, his printmakers continued to reproduce his works, as did numerous other artists and print publishers who recognized the market for his imagery. The exhibition brings together approximately seven drawings from the holdings of the J. Paul Getty Museum and seventeen prints from the special collections of the -more- Page 2 Research Library at the Getty Research Institute. Works from other collections around the country (including the Pierpont Morgan Library, the Metropolitan Museum, and the Huntington Library), are also shown.
    [Show full text]
  • A Study of the Hybrid Genre of Seventeenth-Century Dutch Family
    Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture By © 2017 Denise Giannino M.A., University College London, 2005 M.A., Florida State University, 2006 Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Linda Stone-Ferrier David Cateforis Stephen Goddard Anne D Hedeman William Keel Date Defended: 3 November 2017 ii The dissertation committee for Denise Giannino certifies that this is the approved version of the following dissertation: Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture Chair: Linda Stone-Ferrier Date Approved: 3 November 2017 iii Abstract In the seventeenth century, the proliferation of Dutch family portraits among the broad middle class was a distinctive facet of artistic production. Within this visual trend, the vast majority of such paintings present the sitters in outdoor environs rather than the domestic sphere. This dissertation focuses on such images and adopts the term “family-landscape portrait” to highlight the hybrid nature of the images that commemorate a particular family within a specific locale. I consider the particularities of seventeenth-century Dutch family-landscape portraiture as a separate pictorial genre and attend to the ways in which these images construct identity and generate meaning, including through the blending of portraiture and landscape conventions. In order to investigate the complex meanings of family-landscape portraits, this dissertation will consider the images from the perspective of the biographical circumstances of the sitters’ lives; contemporary cultural, socioeconomic and political issues that inflect the choice of symbols or locale; and the pictorial traditions from which the images stem.
    [Show full text]
  • Dutch and Flemish Art: the Golden Age
    Dutch and Flemish Art: The Golden Age The Library of Walter A. Liedtke Curator of European Paintings at the Metropolitan Museum of Art Part I: Dutch and Flemish Art Part II: European Art 2118 titles in circa 2300 volumes From Wikipedia, the free encyclopedia Walter Liedtke Walter Liedtke Walter Arthur Liedtke, Jr. Born August 28, 1945 Newark, New Jersey US February 3, 2015 (aged 69) Died Valhalla, New York US Residence Bedford Hills, New York Nationality United States Occupation Art historian, writer, curator Years active 1974–2015 Walter Arthur Liedtke, Jr. (August 28, 1945 – February 3, 2015) [1] was an American art historian , writer and Curator of Dutch and Flemish Paintings at the Metropolitan Museum of Art .[2] He was known as one of the world's leading scholars of Dutch and Flemish paintings. [1] He died in the 2015 Metro-North Valhalla train crash .[3] Early life Liedtke was born in Newark, New Jersey ,[4] and grew up in Livingston, New Jersey .[4] Liedtke studied Art History , receiving a Bachelor of Arts degree in 1967 from Rutgers University in New Brunswick, New Jersey , a Master of Arts degree in 1969 at Brown University in Providence, Rhode Island. [5] Liedtke said that his interest in Dutch paintings began because he was focused on images as a child from hours and hours of watching a lot of TV. [6] He described his aesthetic as that of having a focus on how he responded to visual patterns compared to a more typical perspective focused on story and narratives. [6] Career Academia Liedtke planned on a career in academia.
    [Show full text]
  • 60 in München Stammt Von Roelof Jansz Van Vries Und Ist Signiert
    60 Journal für Kunstgeschichte 19, 2015, Heft 1 in München stammt von Roelof Jansz van Vries und ist signiert, Gero Seelig führt sie ausdrücklich als Referenz zur Zuschreibung des Schweriner Bildes an Vries an 29 Die Leipziger Variante wird von Jan Nicolaisen wegen Schwächen in der Ausfüh- rung als Kopie nach dem Münchener Bild eingeordnet 30 Das Münchener Bild zeigt aber deutlich einen anderen Baum- und Blattschlag und die hellen Akzente von Blättern auf dem Münchener Bild fehlen auf Inv -Nr G 3946 Meiner Ansicht nach stammt das Schweriner Bild aus der Sammlung Müller nicht von Roelof Jansz van Vries, sondern von einem bislang unidentifizierten Maler Die Komposition geht aber offenbar letztendlich auf Antoni Waterloo zurück, wie eine querformatige Radierung zeigt, auf der er sich ausdrücklich als Inventor bezeichnet „Antoni Waterloo in et fec et ex“ 31 Stefan Bartilla Prag 29 Walther Bernt, Die niederländischen Maler des 17. Jahrhunderts, München 1960, Bd 3, Nr 975 30 Nicolaisen 2012 (s Anm 1), S 325, Kat -Nr 354, Inv -Nr 361 In Anm 1 führt Nicolaisen auch das Bild der Sammlung Müller an Das Leipziger Bild stellt genau genommen eine Variante dar 31 Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700, Bd. 50, Antoni Waterloo, zusam- mengest von Christiaan Schuckman, hrsg von D de Hoop Scheffer, Rotterdam und Amsterdam 1997, S 221, Kat -Nr 103 Kerry Barrett; Pieter Soutman. Life and Oeuvre (OCULI Studies in the Arts of the Low Countries, vol 12); Amster- dam und Philadelphia: John Benjamins Publishing Com- pany 2012; 381 S
    [Show full text]