THE METRO ART
DUTCH PAINTINGS
A PICTURE BOOK THE METROPOLITAN MUSEUM OF ART
UTGH W^AINTINGS
A PICTURE BOOK
NEW YORK, N. Y. 1944 COPYRIGHT BY THE METROPOLITAN MUSEUM OF ART MAY, HJM
in (On corci) Frans Hals (horn after 1580 - died 1666) Malic Babbe Purchase, 1871 C* [ DUTCH PAINTINGS
UTCH art of the seventeenth century come an outcast. The burghers of the new is the achievement of a people that democracy welcomed her to their homes. Every asserted its Protestantism with mili Dutch home was a little museum, and there tant fervor. Yet it is not a protest were capitalists in the Republic who owned but an affirmation. Hatred of Spanish tyranny veritable art galleries. John Evelyn, the diarist, and Roman intolerance found no expression found to his surprise paintings by good mas in the works of the painters. Their art did not ters offered for sale at the annual fair held in care for negation. They did not proclaim on the open at Rotterdam. He was told that the canvas what manifestations of life they did not large output of pictures and their cheapness like, they spoke in color and line of those they were due to the lack of land available for in admired. They affirmed the worthwhileness of vestment, "so that it is an ordinary thing to existence, their love of beauty, their joy in the find a common farmer lay out two or three picturesque charm of town ancf country, the thousand pounds in this commodity." The people's pride in the well-ordered neatness of Frenchman Sorbiere knew a Dutch book- their homes. They demonstrated that anything dealer who had his room full of pictures rep in (iod's creation was worth painting, that resenting a value of six thousand francs. These even things which the layman calls ugly are Hollanders, he found, were all potential art in the artist's vision transformed into beauty dealers. They put their money in pictures in by the magic play of light upon their ugliness. the hope of selling them with profit. The Those who are insensitive to that magic will people themselves had become the chief pa avert their eyes from the disemboweled carcass trons of the painting craft. of an ox in a butcher shop, but Rembrandt Art, in other words, had become secularized. feasted his on the miracle that the fall of the Still, the artists' guilds remained dedicated to light worked on the mass of trembling flesh St. Luke, though the saint had no shrines in and recreated it into a work of art. the Republic where his aid could be invoked. That acquisitiveness of seventeenth-century The evangelist owed his patronage of the Dutch painting, its avid seizure of the fullness guilds to an early medieval legend of obscure of life in ail its aspects, implies a protest, origin according to which the Virgin Mary though, against the medieval past. In the fif once sat to him for her portrait. In every town teenth and sixteenth centuries the range of art a chapel was dedicated to St. Luke by the local Was restricted. Since the church and the court artists and adorned by one of them with a pic of the Dukes of Burgundy were its chief pa- ture of the saint on his knees before the Virarin D'ons, religious and historical scenes were the with a sketchbook in his hands or painting her painters' stock-in-trade. They had to be illus in front of his easel. The Reformation had no trators of episodes from the Scriptures, the use for such idolatry, but the traditional sub Lives of the Saints, and ancient history. But ject was as persistent as St. Luke's nominal the Reformers despoiled the churches of all patronage of the guilds. The Protestant artist Works of art, defied the ducal court, and ab divested it of its hagiographic intent, usurped jured their allegiance to the King of Spain, the evangelist's place, turned the Virgin into a the heir of the Dukes of Burgundy. They took burgher belle, and in this way a stereotyped his sovereign power into their own hands and theme of medieval iconography developed into established a Reformed Church in which God the self-portrait of the painter at work in his Was worshiped without the worldly allure studio, a genre that proved capable of endless ments of painting and sculpture. But art, variation. The art of St. Luke became diversi though banned from their houses of prayer fied when the evangelist shed his saintliness and deprived of court patronage, did not be and, contenting himself with being exclusively a painter, told a gospel of life in all its variety. artists among them discovering beauty even in It was not art alone that was thus democra the lowest layers and haunts of society, the tized. Science too expanded its range as soon scientists discovering the reign of law in the as the nation had freed itself from the shackles lowest, even the invisible, manifestations of of Roman Catholic doctrine. The rebels nature. against Spain, long before they had clinched The deathlike order into which public life their independence, founded a university at in the Netherlands was frozen under the chill Leyden which would be free from dictation by ing breath of despotism became an animated Rome. The plan of the new school implied as concord of free individuals acting spon clear a protest against the past as did the new taneously and in self-willed unison. The moral art of Holland's painters. It rejected the discipline that Calvin's church enforced pre medieval quadrangle and cloister, the chapel served the people from turning their new free and refectory, because they were reminders of dom into license. The laws these Dutch burgh an antiquated monasticism. The Dutch burgh ers obeyed were laws of their own making ers sent their sons to Leyden, not to live there and were, consequently, obeyed without like monks in herdlike uniformity, but to grudge or demur. They were framed, it is true, compete in the pursuit of knowledge, each by the ruling class, an oligarchy of the best searching it in his own way. The triumph of families. But the members of this class knew anti-Roman heresy bred heresy in other fields. the temper of the masses ancf had learnt by The artist asked himself, "Why should I not experience that the best safeguard of their paint what no one ever painted?" The scien authority was the approval of the multitude. tist asked, "Why should I not question what The historian Hooft, who was himself a mem no one ever questioned?" Simon Stevin chose ber of the ruling patriciate, wrote in the for his life motto an expression of his disbelief thirties of the seventeenth century, "In this in miracles. He searched for a reign of law in country the greatest changes were brought the bewildering diversity of nature, and re about through the instigation or, at any rate, jected the belief in miracles as a denial of the through the active compulsion of the common cosmic order. Christian Huygens, the physicist, man, and in these days not the least art of the reluctant to accept any theological dogma as a municipal government consists in managing revelation of divine truth, declared that prob and placating the multitude." The legislative ability was the nearest that man could come to power, to be sure, was not in the hands of the truth; and the sceptic in him would not con masses, but no laws were passed that the masses form to any religious creed beyond the nega would not tolerate. For the freedom of utter tive confession that he did not exclude the ance was granted to all and the murmur of Deity from the probable that he knew to be discontent was a danger signal that few magis attainable. Anthony Lceuwenhoek, peering at trates dared disregard. drops of water and specks of dust under the Foreign visitors expressed surprise at this microscope, observed the antics of a microbial strange, unaccountable spectacle of a many- fauna that no one had ever observed. And Jan headed state where every man behaved as if Swammerdam, refuting the popular supersti he were his own master and where, neverthe tion that insects were the creatures of spon less, civic order prevailed such as no foreign taneous generation from mud, manure, and despot could enforce. Where, stranger still, all putrid matter, proved insect life to be a circu sects were tolerated and yet religious strife lar course from egg to egg and classified in was less bitter than elsewhere. "It is hardly to sects on the basis of their various metamor be imagined," wrote Sir William Temple, who phoses. Freed from both the patronage and the was British ambassador in the sixties of the tutelage of the Church of Rome, the enfran seventeenth century, "how all the violence and chised Dutch extended the range of their in sharpness which accompanies the differences of terest and curiositv into all directions, the religion in other countries seems to be ap- peased or softened here by the general free laurel wreath the prince of poets. Vondel's dom which all men enjoy, either by allowance verse, indeed, was the verbal counterpart of or connivance; nor how faction and ambition the wealth that Rembrandt and his fellow are thereby disabled to colour their interested painters gathered for posterity on panel and and seditious designs with the pretences of re canvas. Portrait, landscape, marine piece, ligion, which has cost the Christian world so genre picture, still-life scene, allegory, baroque much blood for these last hundred and fifty mythology, pastoral idyll, coarse drollery, it is years." Where everyone is free to speak his all included in his work. He knew how to mind the urge to use blows for arguments is paint with words as no one in Holland before a foolish passion. Liberty trained the Dutch in him or after. To his collected poetry applies the art of urbane debate. Said Sir William what Drydcn said of Chaucer's, "Here is God's Temple, "They argue without interest or plenty." anger; they differ without enmity or scorn; The most popular poet of that age, how and they agree without confederacy. Men live ever, was not Vondel but Jacob Cats, whose together, like citizens of the world, associated theme was the workaday world and man's by the common ties of humanity and by the place in society. Since the home was the small bonds of peace under the impartial protection est unit of organized society, the family was of indifferent laws, with equal encouragement to him the cornerstone of the Republic, and of all art and industry, and equal freedom of marriage the bond that held the nation to speculation and inquiry." gether. Courtship, matrimony, motherhood, It was in this sphere of freedom and tol the seven ages of man, education, discipline, erance that Descartes, the Catholic, chose to the duties of children towards their parents, spend twenty-one years of his life. He found the relationship between husband and wife, friends there in Catholic priests and Protestant the comforts and troubles of old age, death, laymen, and counted Protestants among his and burial, were discussed by him in simply most ardent disciples. "What other country phrased verse. His word pictures of Dutch could you choose in all the world," he wrote home life have much in common with those to a correspondent, "where you can enjoy such that Pieter de Hooch and Jan Vermeer of perfect liberty . . ., where poisoning, treach Delft painted on canvas. But whereas the lat eries, calumnies are less known, and where ter tell a story only as a pretext for charming there has survived more of the innocence of the eye with the wonder of the sunlight, Cats our forefathers?" It was there that Spinoza, told his stories to teach and edify the readers' the Jew, though held to be an atheist by the minds. He did edify his contemporaries; the Calvinist ministry, was able to live and write modern reader, however, has neither the time in peace and win followers of his thought by nor the patience to listen to his garrulous conversation and correspondence. There the didacticism. But the beauty that the painters country's greatest poet, Joost van den Vondel, caught upon their canvas has not grown stale continued to live unmolested and honored, in the passage of time. Cats and his fellow though he had outraged the feelings of the poets, even the greatest of them, wrote for orthodox Reformed by rejecting the Baptist their own age; the artists who painted the faith for which his parents had suffered per very same themes of which the poets wrote secution to return to the Church of Rome. He continue to charm three centuries after their did not have to atone for his conversion with death. The long-winded verse of Cats has lost social ostracism. The Catholic poet's loyalty to the power to conjure up Holland's past before his adopted city of Amsterdam was never our bored imagination. But one glance at called in doubt. In 1653 some hundred paint Pieter de Hooch's sunlit parlor makes us ers, poets, and lovers of the two arts assembled understand what attracted Descartes to the at dinner in St. George's Doelen, the guild Dutch Republic and held him there for more house of the archers, and crowned him with a than twenty years. The serenity and quiet that he craved, the dispassionate tolerance that Sir to come, in which men will live together again, William admired in the Dutch, seem to per as did the Dutch in Rembrandt's age, like vade that peaceful scene. To look at those four citizens of the world, associated by the com people around the table by the window makes mon ties of humanity and by the bonds of one nostalgic for that Dutch society of long peace. ago. It is good to see Holland's masters of the A. T. BARNOUW seventeenth century resume their places on Queen Wtlhelmtna Professor of the History, the walls of the Metropolitan Museum. Their Language and Literature of the Nether return from hiding is an omen of saner times lands, Columbia University l. Rembrandt (1606- 1669) The Noble Slav Dated 1G32. Bequest of William K. Yandeibilt, 1920 2. Rembrandt (1606- 1669) Lady with a Fan Dated 1633. Gift of Mrs. Francis Neilson, 1943 cq o>
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^ F , X «-l to c tO n 1 V 1 to s 0 FT to CO t*o T2 •* a «u Jrt3 n Q Benjamin Altman, 1913 6. Rembrandt (1606-1669) Flora Painted about 1650. Gitt of Archer M. Huntington, 1926 Rembrandt (1606- 1669) Portrait of a Young Man Dated 1658. Bequest of Benjamin Altman, 1913 8. Rembrandt (1606-1669) Portrait of the Artist Dated 1660. Bequest of Benjamin Altman, 1913 g. Rembrandt. (1606-1669) Hcndrickje Stofjels Dated 1660. Gift of Archer M. Huntington, 1926 io. Rembrandt (1606-1669) Man with a Magnifying Glass Painted about 1662-1665. Bequest of Benjamin Altman, 1913 ii. Rembrandt (1606-1669) Lady with a Pink Painted about 1662-1665. Bequest of Benjamin Altman, 1913 12. Rembrandt (1606-1669) Man with a Beard Dated 1665. Gift of Henry G. Marquand, 1S89 i«. Frans Hals (born after 1580-died 1666) Yonker Ramp and His Sweetheart Dated 1(123. Bequest of Benjamin Altman, 1913 14- Frans Hals (born after 1580-died 1666) Portrait of a Woman Gift of Henry G. Marquand, 1890 15. Frans Hals (born after 1580-died 1666) Portrait of a Man Gift of Henry G. Marquand, 1890 16. Johannes Vermeer (1632- 1675) Girl Asleep Painted about 1651-1658. Bequest of Benjamin Altman, 1913 17. Johannes Vermeer (1632- 1675) Young Woman icith a Water Jug Gift of Henry G. Marquand, 1889 i8. Johannes Vermeer (1632- 1675) Lady with a Lute Bequest of Collis P. Huntington, 1925 19. Pieter de Hooch (1629-died after 1684) The Visit Painted about 1660. Bequest of Mrs. H. O. Havemeyer, 1929 20. Pieter de Hooch (1629-died after 1684) The Maidservant Bequest of Michael Friedsam, 1931 21. Gabriel Metsu (1629- 1667) A Visit to the Nursery Dated 1661. Gift of J. Pierpont Morgan. 1917 oo 04 « to 2 JJ 5j 0 — — '§ cd D ~2 n IM £ 0 su tu — = 3 0 P4 * I FERDINAND BOL (1616-1680). Bol was Rembrandt's pupil about 1635 in Amsterdam and his early style is confusingly close to that of his master. He enjoyed very great popularity in Amsterdam and was commissioned to paint the Regents of the Leper Hospital, probably his most important picture. AELBERT CUYP (1620- 1691). Cuyp, who was born and worked in Dordrecht, was probably trained by his father, Jacob Gerritsz. Cuyp, and was influenced by Van Goyen. Though chiefly admired for his peaceful, glowing river scenes with cattle, he was also a prolific painter of portraits. FRANS HALS (born after 1580-1666). Hals, the most Dutch of painters, was born in Antwerp, but while still a boy moved to Haarlem, where he became the city's honored portraitist. The vitality of his pictures is due to their lively content, their fresh color, and the dashing vigor of his brushwork. PIETER DE HOOCH (1629-died after 1684). De Hooch probably studied in Amsterdam with Berchem and painted for a wealthy patron in Leyden and The Hague. His best work was done in Delft and his last years were spent in Amster dam. De Hooch specialized in the play of light on quiet interiors, often with dazzling glimpses of the out-of-doors. GABRIEL METSU (1629- 1667). Metsu spent the early years of his brief life in Leyden, his birthplace, transferring to Amsterdam about ten years before his death. He painted the ordinary events of everyday life with tender attention to the charming details of bourgeois costumes and interiors. REMBRANDT VAN RUN (1606- 1669). Rembrandt was born in Leyden and painted there until 1631, when he moved to Amsterdam. He had studied with Jacob van Swancnburgli and Pieter Eastman. From his earliest dated picture of 1626 his marvelous talent matured, increasing constantly in technical power and psychological depth. JACOB VAN RUISDAEL (born about 1628- 1682). The scope, the poetry, and the force of his paintings make Jacob van Ruisdael an impressive landscapist. He was the nephew and probably also the pupil of Salomon van Ruysdacl. Born in Haarlem, and a member of tin guild there, he worked for nearly thirty years in Amsterdam as a physician as well as a painter. JOHANNES (OR JAN) VERMEER (1632 - 1675). Vermeer was a native and life long resident of Delft. He studied under Carel Fabriiius, a Rembrandt pupil. Although only about forty of his paintings are known, his bold handling of light and his harmonious compositions have given him an unchallenged position among the Dutch masters. 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Others in preparation Primed in an edition of 5.000 copies, May, 1944 1>\ the Plantin Press, New York