DOCSLIB.ORG

Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’ Research Master Thesis Art History of the Low Countries in its European Context Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’. Student: Adele-Marie Dzidzaria 0507954 Supervisor: Prof. Dr. Rudi Ekkart Utrecht University 2007 Table of contents Introduction....................................................................................................................3 1 Biography/Overview of Naiveu’s oeuvre ..............................................................5 1.1 From Leiden to Amsterdam...........................................................................5 1.2 From early genre to theatrical compositions..................................................8 1.3 Portraiture ....................................................................................................14 2 Historiographic context/ Theatricality in genre painting.....................................19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities..............................................................................................................24 4 Theatrical paintings - thematic sources and pictorial models..............................32 4.1 Out-door festivities and performances.........................................................32 4.2 In-door celebrations and amusements..........................................................56 5 Conclusion ...........................................................................................................62 6 Preliminary catalogue of paintings by Matthijs Naiveu ......................................64 II. Signed and dated paintings in chronological order .............................................64 II. Undated paintings in thematic order ...................................................................86 7 Abbreviations / Bibliography.............................................................................108 2 Introduction The oeuvre of Leiden-born artist Matthijs Naiveu (1647-1726) has primarily been discussed in précis writings on the Leiden school of painters including only some of his works that fit within the context of fijnschilderen. The principal reference added to Naiveu both in the art historical surveys and auction catalogues is him being the pupil of the famous Gerrit (Gerard) Dou, the founder and one of the central figures of ‘beau fini’ school in Leiden. Random works by Naiveu have been used as illustrations for the books on cultural history representing the fashions and customs of his time but only few of them have been examined in detail. As there is no overview of works by this last pupil of Dou, the peculiarity of his paintings has only been noticed and appreciated by few connoisseurs. The established biographical sources of the Dutch artists by Arnold Houbraken and Jacob Campo Weyerman both mention Matthijs Naiveu (Neveu) as a genre painter: ‘schilder van vrolijke gezelschapjes’ whose works were ‘bevallig voor’t oog’1, although there are also few still-lives and a considerable number of portraits known by his hand. Besides the ‘merry companies’ that the contemporary art writers saw as Naiveu’s characteristic yield and many other genre works that continue and improvise with the traditional themes invented by predecessors, Naiveu managed to generate an artistic niche of his own - curious paintings depicting both indoors and open-air theatrical performances. While the largest number of signed and dated genre paintings by Naiveu are related to the theme of entertainment, festive events and popular theatre, few of them have been published outside the auction catalogues and they have never been studied as a group. Naiveu’s genre paintings that show strong theatrical content relate to the previous genre subjects as much as to the following vogue of thespian paintings. Grown interest towards the art of the late 17th-century and early 18th- century that was previously seen solely as a decline of the Golden Age, has contributed to the appreciation of the works of artists from that period. However, Naiveu was not a 1 Houbraken 1718 (1953): 179, Weyerman 1729 : 62. Interestingly a slightly later artists’ biographer Johan van Gool (1750) has left Matthijs Naiveu out of his publication. 3 mainstream artist in his days and so have his paintings that do not conform to the classicist ideals of the time seldom been given an attention. For these reasons I will begin my thesis with the biographical information and give an overview of Naiveu’s early genre paintings and portraiture in the first chapter followed by the outline on the previous research into the relationship between theatre and genre painting in the 17th-century northern Netherlands. In the chapter 3 I will discuss the changes in Naiveu’s thematic choices and artistic style after his move from Leiden to Amsterdam and in the 4th chapter focus on the group of Naiveu’s theatrical genre paintings from his Amsterdam-period in more detail. The accompanying preliminary catalogue of Naiveu’s paintings that have been compiled together here for the first time is listed under chapter 6. For Naiveu’s works that will be discussed in this thesis reference will be made to the catalogue entries that besides the visual image also give the primary provenance information and bibliography on the paintings. 4 1 Biography/Overview of Naiveu’s oeuvre 1.1 From Leiden to Amsterdam The most comprehensive biographical information on Matthijs Naiveu to date has been published in the catalogue for the exhibition “Klein, maar fijn” held at the Leiden Stedelijk Museum De Lakenhal in1988 2 where also five paintings by Naiveu were exhibited. For this catalogue extensive research was done into the archival documents to confirm or add to the previous knowledge of the artists included in the publication. As a result two new conclusions were drawn concerning important events in Naiveu’s life. Artist’s move to Amsterdam was set to a year later (1678) and he gained five years of life. Baptismal register of the Dutch Reformed Church shows that Matthijs Naiveu was baptised on the 16th of April 1647 at the Hooglandse Church in Leiden. He was the eldest son3 of wine merchant and inn-keeper Matheus Naiveu from Rotterdam and Jannetgien (Janneken) Melcke from Leiden.4 It is known that his grandfather Mathys Willemsz had been a skipper in Liège.5 The biographical information concerning the artists future métier rests upon Houbraken’s account that mentions Leiden glass painter and drawing master Abraham Toorenvliet (c. 1620-1692), who also had taught Frans van Mieris the Elder (1635-1681), as Naiveu’s first teacher in the art of drawing. In March 1667 ‘Mathys Naveu de Jonge’ has been documented buying ‘een schylderback met bleck en kooper beslaegen’6 in order to begin his studies as a painter. Subsequently, Gerard Dou (1613-1675) is reported as his tutor in the art of painting.7 The latter has been confirmed by three receipts kept in the Leiden regional archive signed by Gerard Dou. Each of the three small documents attest to master 2 Sluijter 1988: 186 3 Two other sons were baptized in 1649 and 1651 of which one is later mentioned in 1674 together with ‘Matthijs Naiveu, Konst-Schilder’ as ‘Jan Naiveu, brootbacker’ to be the custodian of their underage sister Susannah - Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD 4 RAL, Doopboeken Nederlands Hervormd 5 Transcription of a document in Bredius notes on Naiveu – Bredius Archive at RKD: “9. July 1665 Matthys Naiveu, wijnkooper te Leiden, is zoon van za: Mathys Willemsz, in zyn leven, mares schipper van Luyck. M. Beeckman, Den Haag.” 6 Ibid. 7 Houbraken 1718 (1953) III: 179 5 Dou receiving hundred guilders a year, in total 300 guilders (substantial sum of money for tutelage at a time) from Leiden notary Tersijden8, who was the custodian of late Matheus Naiveu the Elder’s four orphaned children. We can only speculate whether the decision to study at Dou’s studio that took place from 1667 to 1669 was Naiveu’s own (being under 25 years old and unmarried he was not yet considered as an amenable adult) or his custodian was acting according to the will of his parents who had died less than two years prior. Artist’s father was buried 4th of December 1665 and his mother Janneke Melcke less than two months later, 1st of February 1666, both at the graveyard of Pancras Church in Leiden.9 As this period of time is known for many plague-epidemics, the infection with a contagious malady could explain the proximity of death of both parents. It seems quite apparent that becoming Gerard Dou’s pupil and learning the highly polished style of the master involved an expectation for a lucrative income as an artist, hence the will to pay the high tutelage. The cost of paintings by fijnschilders, especially of Dou and his pupil Frans van Mieris the Elder were among the highest and they were sought after by high dignitaries of both local and foreign descent.10 Contemporaries admired the intricate fijn style and the astounding illusion of reality contained in these small cabinet size pictures. This is well illustrated by the significant fact that one of the fervent admirers and collectors of Dou in his hometown, Johan de Bye organised an exhibition in 1665 of 27 paintings from his collection painted by ‘Monsieur Douw’11 that became one of the required sightseeing spots for wealthy art lovers visiting Leiden. Already much earlier, in 1641 when Dou was only 28 years 8 Receipts from May 1667,
Load more

Recommended publications
  • SIMON DE VOS (1603 – Antwerp – 1676)
    CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641).
    [Show full text]
  • 669 Other Artists
    669 Other Artists Fig. 132. Francesco Fracanzano (attrib.) Rosa and Friends (drawing, Christie’s Images) Fig. 131. Giovan Battista Bonacina, Portrait of Salvator Rosa (engraving, 1662) Fig. 133. Francesco Fracanzano (attrib.), Rosa and Friends (drawing, British Museum, London) Fig. 134. Lorenzo Lippi, Orpheus (c. 1648, private collection, Florence) 670 Fig. 135. Lorenzo Lippi (and Rosa?), The Flight Fig. 136. Lorenzo Lippi, Allegory of Simulation into Egypt (1642, Sant’Agostino, Massa Marittima) (early 1640’s, Musèe des Beaux-Arts, Angers) Fig. 137. Baldassare Franceschini (“Il Volterrano”), Fig. 138. Baldassare Franceschini (“Il Volterrano”), A Sibyl (c. 1671?, Collezione Conte Gaddo della A Sibyl (c. 1671?, Collezione Conte Gaddo della Gherardesca, Florence) Gherardesca, Florence) 671 Fig. 140. Jacques Callot, Coviello (etching, Fig. 139. Jacques Callot, Pasquariello Trunno from the Balli di Sfessania series, early 1620’s) (etching, from the Balli di Sfessania series, early 1620’s) Fig. 142. Emblem of the Ant and Elephant (image from Hall, Illustrated Dictionary of Symbols in Eastern and Western Art, p. 8) Fig. 141. Coviello, from Francesco Bertelli, Carnavale Italiane Mascherato (1642); image from Nicoll, Masks Mimes and Miracles, p. 261) 672 Fig. 143. Jan Miel, The Charlatan (c. 1645, Hermitage, St. Petersburg) Fig. 144. Karel Dujardin, A Party of Charlatans in an Italian Landscape (1657, Louvre, Paris) Fig. 145. Cristofano Allori, Christ Saving Peter from Fig. 146. Cristofano Allori (finished by Zanobi the Waves (c. 1608-10, Collezione Bigongiari, Pistoia) Rosi after 1621), Christ Saving Peter from the Waves (Cappella Usimbardi, S. Trinità, Florence) 673 Fig. 148. Albrecht Dürer, St. Jerome in his Study (engraving, 1514) Fig.
    [Show full text]
  • Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester
    Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . Chapter 4: Frans Hals . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 30-47 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: ND636.R6 1966 . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16583[8/18/2016 12:48:14 PM] f t FRANS HALS: EARLY WORKS 1610-1620 '1;i no. l6II, destroyed in the Second World War; Plate 76n) is now generally accepted 1 as one of Hals' earliest known works. 1 Ifit was really painted by Hals - and it is difficult CHAPTER 4 to name another Dutch artist who used sucli juicy paint and fluent brushwork around li this time - it suggests that at the beginning of his career Hals painted pictures related FRANS HALS i to Van Mander's genre scenes (The Kennis, 1600, Leningrad, Hermitage; Plate 4n) ~ and late religious paintings (Dance round the Golden Calf, 1602, Haarlem, Frans Hals ·1 Early Works: 1610-1620 Museum), as well as pictures of the Prodigal Son by David Vinckboons.
    [Show full text]
  • The Intersection of Art and Ritual in Seventeenth-Century Dutch Visual Culture
    Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture By © 2017 Megan C. Blocksom 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: Dr. Linda Stone-Ferrier Dr. Marni Kessler Dr. Anne D. Hedeman Dr. Stephen Goddard Dr. Diane Fourny Date Defended: November 17, 2017 ii The dissertation committee for Megan C. Blocksom certifies that this is the approved version of the following dissertation: Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture Chair: Dr. Linda Stone-Ferrier Date Approved: November 17, 2017 iii Abstract This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city.
    [Show full text]
  • The Representation of Roma in Major European Museum Collections
    The Council of Europe is a key player in the fight to respect THE REPRESENTATION OF ROMA the rights and equal treatment of Roma and Travellers. As such, it implements various actions aimed at combating IN MAJOR EUROPEAN discrimination: facilitating the access of Roma and Travellers to public services and justice; giving visibility to their history, MUSEUM COLLECTIONS culture and languages; and ensuring their participation in the different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of the Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Louvre Museum tell us about the place and perception of Roma in Europe from the15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Louvre interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. 05320 0 PREMS ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume I – The Louvre states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law.
    [Show full text]
  • Tavern Scene ADRIAEN VAN OSTADE I
    Elleboochsteech that he had purchased in Sep­ 1977.21.1 (2706) tember 1650, he settled first in the Koningstraat and by August 1663 moved to the Veerstraat. The couple Tavern Scene had one child, a daughter named Johanna Maria. In 1655 Ostade became guardian of his sister Early 1660s Maeyeken's five children, and from 1668 he was also Oil on oak, 23.8 x 20.4 (9*6 x 8) Gift of John Russell Mason responsible for the children of his brother Jan. After the death of Anna late in 1666, Ostade inherited Inscriptions considerable sums both from her and from her At lower left: Av Ostade 166 father. His prolific output must also have provided a Technical Notes: The cradled panel support is composed of substantial income, for by 1670 he was living in a single oak board with the grain running vertically. There is relative comfort on the Ridderstraat. In 1672, at the a slight convex warp. Dendrochronology estimates a felling time of the French invasion of the Netherlands, he date of 16jo for the tree and a period of 1655-1670 for the temporarily fled Haarlem and moved to Amsterdam. panel use. A thin, off-white ground layer prepared the panel to receive thin paint layers whose low-covering power left the On 21 April 1685, Ostade was a signatory to his wood grain visible. daughter's marriage settlement. Six days later he Moderate flaking in the past has occurred overall, and died and was buried in Saint Bavo's on 2 May. Ac­ damage across the center of the painting has left a series of cording to an announcement placed by his daughter seven horizontal losses in the hat of the man farthest to the left and in the cardplayers (at the same height), as well as a in the Haarlem Courant on 19 June, the contents of vertical scratch through the arm of the central standing the artist's studio were to be sold at auction on 3 and figure.
    [Show full text]
  • Recent Acquisitions (2006–20) at the Mauritshuis, the Hague
    Recent acquisitions (2006–20) at the Mauritshuis, The Hague Supplement COVER_NOV20.indd 1 09/11/2020 09:41 Recent acquisitions (2006–20) at the Mauritshuis, The Hague he royal picture gallery mauritshuis in The 1. Paintings by Nicolaes Berchem reunited at the Mauritshuis. Hague is often likened to a jewellery box that contains (Photograph Ivo Hoekstra). nothing but precious diamonds. Over the past fifteen BankGiro Lottery and the Rembrandt Association, as well as individual years the museum has continued to search for outstanding benefactors, notably Mr H.B. van der Ven, who has helped the museum time works that would further enhance its rich collection of and again. That the privatised Mauritshuis – an independent foundation Dutch and Flemish old master paintings. A director who since 1995 – benefits from private generosity is proved by a great many wants to make worthwhile additions to a collection of such quality must gifts, including seventeenth-century Dutch landscapes by Jacob van Geel Taim very high indeed. The acquisitions discussed here were made during (Fig.5) and Cornelis Vroom (Fig.4), as well as works from the eighteenth the directorship of Frits Duparc, who in January 2008 retired as Director century: a still life by Adriaen Coorte (Fig.2) and a portrait of a Dutch after seventeen years at the museum, and his successor, Emilie Gordenker, sitter by the French travelling artist Jean-Baptiste Perronneau (Fig.16). who earlier this year left the Mauritshuis for a position at the Van Gogh New acquisitions are also supported by numerous other foundations and Museum, Amsterdam. The present Director of the Mauritshuis, Martine funds, all mentioned in the credit lines of individual works.
    [Show full text]
  • The Five Senses in Genre Paintings of the Dutch Golden Age
    The Five Senses in Genre Paintings of the Dutch Golden Age Kitsirin Kitisakon+ (Thailand) Abstract This article aims to study one of the most popular themes in 17th-Century Dutch genre paintings - the five senses - in its forms and religious interpretations. Firstly, while two means of representation were used to clearly illustrate the subject, some genre scenes could also be read on a subtle level; this effectively means that such five senses images can be interpreted somewhere between clarity and am- biguity. Secondly, three distinct religious meanings were identified in these genre paintings. Vanity was associated with the theme because the pursuit of pleasure is futile, while sin was believed to be committed via sensory organs. As for the Parable of the Prodigal Son, party scenes alluding to the five senses can be read as relating to the episode of the son having spent all his fortune. Keywords: Five Senses, Genre Painting, Dutch Golden Age, Prodigal Son + Dr. Kitsirin Kitisakon, Lecturer, Visual Arts Dept., Faculty of Fine and Applied Art, Chulalongkorn University, Thailand. The Five Senses… | 125 Introduction In the 16th and 17th Centuries, the five senses had never been more popular as subject matter for graphic art, especially in the Low Countries. Since Nordenfalk (1985), this theme has been occasionally discussed in monographs, catalogues of specific artists, or Dutch genre painting studies. Yet, an analysis of the modes of representation of the five senses seems to have been ignored, and there is a certain lack of fresh interest in their religious interpretations. From this observa- tion, this article aims to firstly examine how the five senses were represented in the Dutch genre paintings of the Golden Age, inspect how artists narrated them; secondly, reinvestigate how they can be religiously interpreted and propose deeper meanings which go beyond realistic appearance.
    [Show full text]
  • TRQ Layout Def 1-6 Web.Indd
    The 2010 Rubenianum 2 Quarterly Rubenianum Fund gathers momentum Dear Friends of the Rubenianum, In the past few months, the Rubenianum Fund has continued to gather momentum. We are delighted to let you know that the The total amount raised so far already exceeds Euro 1.4 million from donors in results so far of the fundraising initiatives of Belgium, the United States, the Netherlands, the United Kingdom, France, Spain the Rubenianum Fund have been immensely and Switzerland. This is especially gratifying in these economically diffi cult times. encouraging. Only three weeks ago, on 21th It signifi es that the fi nal target of Euro 2 million is within reach, although obviously September to be precise, our colleagues of the quite a lot of ground still needs to be covered. Rubenshuis hosted a splendid fundraising dinner for the Dutch community of patrons The next fundraising event will take place in Madrid in the premises of the and collectors living in our country which was Fundacion Carlos de Amberes. This is a most appropriate location, as the Fundacion also attended by the Dutch consul–general. was established at the end of the 16th century by a Flemish merchant who came The benevolent and generous support of a to Madrid. Moreover, it houses an impressive Rubens Altarpiece depicting Saint growing number of international Donors and Andrew in its Chapel of San Andres de los Flamencos. Benefactors made it possible to hire two talented Madrid will also be the venue for the fi rst trip for the donors and benefactors of the junior staff members on a fulltime basis.
    [Show full text]
  • Rembrandt: the Denial of Peter
    http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT REMBRANDT: THE DENIAL OF PETER How an artistic composition reveals the essence of an axiomatic moment of truth By Pierre Beaudry, 9/23/16 Figure 1 Rembrandt (1606-1669), The Denial of Peter, (1660) Rijksmuseum, Amsterdam. Page 1 of 14 http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT INTRODUCTION: A PRAYER ON CANVAS All four Gospels of Matthew, Mark, Luke and John have reported on the prediction that Jesus made during the Last Supper, stating that Peter would disown him three times before the night was over, and all four mentioned the event of that denial in one form or another. If ever there was a religious subject that was made popular for painters in the Netherlands during the first half of the seventeenth century, it was the denial of Peter. More than twenty European artists of that period, most of them were Dutch, chose to depict the famous biblical scene, but none of them touched on the subject in the profound axiomatic manner that Rembrandt did. Rembrandt chose to go against the public opinion view of Peter’s denial and addressed the fundamental issue of the axiomatic change that takes place in the mind of an individual at the moment when he is confronted with the truth of having to risk his own life for the benefit of another. This report has three sections: 1. THE STORY OF THE NIGHT WHEN PETER’S LIFE WAS CHANGED 2. THE TURBULENT SENSUAL NOISE BEHIND THE DIFFERENT POPULAR PAINTINGS OF PETER’S DENIAL 3.
    [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]
  • Philippe Caudroit
    anticSwiss 02/10/2021 14:54:29 http://www.anticswiss.com philippe caudroit IN VENDITA ANTIQUARIO Epoca: 17° secolo -1600 Caudroit Troyes Stile: Luigi XIV Reggenza +33662098900 Lunghezza:90cm Larghezza:71cm Materiale:olio su tela Prezzo:12800€ DESCRIZIONE DETTAGLIATA: Scuola Caravaggio del XVII secolo: Gesù divide il pane con i Pellegrini di Emmaus Tela originale di 75 cm per 55 cm Bella cornice antica di 90 cm per 71 cm. Il nostro dipinto è attribuito a Jacob Toorenvliet (1640; 1719). Fu sicuramente eseguito intorno al 1670 durante il soggiorno del pittore a Venezia, dove soggiornò per tre anni, o durante il suo soggiorno a Roma (periodo dal 1670 al 1674). Inoltre l'opera rimase indubbiamente nel Regno del Veneto fino al XIX secolo, come sembra mostrare il timbro sul retro. Questo francobollo reca lo stemma degli Hohenzollern, signori del regno di Veneto fino al 1866 e l'iscrizione (... ESPORTATIONE ... R.ACCADEMIA.DI.MILANO), quindi l'autorizzazione a lasciare il regno del Veneto da parte delle autorità di il tempo. Il nostro dipinto è simile all'opera venduta da Sotheby's New York nel 2011 (per un importo di € 62.000 senza spese), non per il soggetto trattato (discussione di Rabins) ma per la resa, i volti, lo sfondo, la mano sul bracciolo della poltrona... Rappresenta Gesù che divide il pane con i pellegrini che condividono la sua mensa. (I pellegrini di Emmaus, o discepoli di Emmaus, sono due personaggi del Nuovo Testamento che compaiono nel "Vangelo secondo san Luca (capitolo 24, versetti da 13 a 35). Uno dei due si chiama Cleophas mentre il nome dell'altro rimane sconosciuto.
    [Show full text]