DOCSLIB.ORG

ABSTRACT Title of Dissertation: ADRIAEN VAN OSTADE's IMAGES

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABSTRACT Title of Dissertation: ADRIAEN VAN OSTADE's IMAGES ABSTRACT Title of Dissertation: ADRIAEN VAN OSTADE'S IMAGES OF IDYLLIC RURAL LIFE Jessica Lynn Hoffman, Doctor of Philosophy, 2013 Dissertation directed by: Professor Arthur K. Wheelock, Jr., Department of Art History & Archaeology Seventeenth-century Dutch artist Adriaen van Ostade (1610–1685) created paintings of rural life that exude life and vitality. The artist devoted hundreds of canvases and panels to depicting rural folk enjoying a dance or a drink, singing songs, and enjoying the pleasures of the pipe. Though he inherited many aspects of the peasant genre tradition from predecessors such as Pieter Bruegel (c.1525–1569), Ostade, a lifelong resident of Haarlem, developed his own type of peasant image by depicting leisure activities in small inns and taverns that presented a sympathetic view of rural inhabitants. Ostade’s mature paintings of festive country folk relied on preconceived notions about the peace and beauty of Haarlem’s rural environs and were meant to enhance the idea of a peaceful rural escape for urban viewers. Through a critical examination of Ostade’s oeuvre, I will compile a coherent and detailed look at the images of rural festivity that Ostade created throughout his long career. Ostade transformed traditional rollicking kermis scenes into subdued, leisurely celebrations focused on simple interactions along with singing and dancing. He changed the traditional stereotype of the festive peasant from a brutish, crude figure into a rustic, yet idyllic, rural fixture. The content people Ostade depicted in his mature work reflect the desires of an urban bourgeois class in Haarlem that prized their city’s rural environs, which had long been extolled in literature and art. A thorough study of the works and the market for which they were produced illuminates the meaning and function of his animated pictures of rural life. ADRIAEN VAN OSTADE'S IMAGES OF IDYLLIC RURAL LIFE Jessica Lynn Hoffman Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2013 Advisory Committee: Proferssor Arthur K. Wheelock, Jr. Professor Anthony Colantuono Professor Emeritus Jay Robert Dorfman Professor Meredith Gill Dr. Henriette Rahusen © Copyright by Jessica Lynn Hoffman 2013 Acknowledgements I would like to express my deepest gratitude and appreciation to my advisor, Arthur Wheelock, for his patient guidance, encouragement, and useful critiques of my work. I would also like to express my appreciation to committee members Meredith Gill, Anthony Colantuono, and Bob Dorfman for their time, energy and interest in my topic. My grateful thanks are also extended to Henriette Rahusen for her assistance with translations, thoughtful comments on my draft, and for serving on my committee. I offer my gratitude to the Department of Art History and Archaeology at the University of Maryland for providing their support and knowledge. I wish to acknowledge the assistance of the Samuel H. Kress Foundation for providing a travel grant that enabled me to conduct research in the Netherlands. Assistance provided by Lea van der Vinde at the Mauritshuis and David de Haan at the Rijksmuseum was greatly appreciated during my time there. I would like to offer my special thanks to Lauree Sails and Quint Gregory for their support, friendship, and guidance throughout my time at Maryland as well as Erin McKinney and Tanya Jung, who provided me with valuable feedback and support. ii The dissertation document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library collection. iii Table of Contents List of Figures .................................................................................................................... vi Introduction ......................................................................................................................... 1 Chapter One: Representations of Rural Life before Ostade ............................................. 19 Who are peasants?......................................................................................................... 19 Arcadian Literature ....................................................................................................... 20 The “Noble Peasant” ..................................................................................................... 25 Mockery of the Peasantry in the Middle Ages .............................................................. 29 The Sixteenth Century: Peasants and their Kermises ................................................... 32 The Dawn of the Seventeenth Century—a Bruegel Revival ........................................ 38 Chapter Two: Adriaen van Ostade, A Haarlem Artist ...................................................... 41 Ostade’s Life ................................................................................................................. 41 A Painter of Peasants and his Audience ....................................................................... 52 Dutch Rural Life in the Seventeenth Century ............................................................... 62 Haarlem, ‘An Earthly Paradise’ .................................................................................... 69 The Haarlem Landscape Tradition ................................................................................ 76 Chapter Three: Satire and Adriaen van Ostade’s Early Work .......................................... 83 Tavern Interiors ............................................................................................................. 83 Brouwer & Bredero and the Peasant Farce ................................................................... 88 Rembrandt’s Influence on Ostade ................................................................................. 99 The Emergence of Ostade’s Personal Style ................................................................ 102 Chapter Four: Reshaping the Image of the Peasant ........................................................ 104 Ostade Focuses on His Figures ................................................................................... 104 A New Image of Rural Life ........................................................................................ 110 Rural Domesticity ....................................................................................................... 114 The Peasant as the “Other” ......................................................................................... 116 Chapter Five: Leisure in the Haarlem’s Countryside ..................................................... 123 Beer, Tobacco and Games .......................................................................................... 123 Scenes of Well-Earned Leisure ................................................................................... 133 iv An Idyllic Rural World ............................................................................................... 138 Ostade’s Kermises ...................................................................................................... 145 Rural Celebrations ...................................................................................................... 149 Chapter Six: Pleasant Scenes in a Time of Crisis ........................................................... 154 Conclusion ...................................................................................................................... 159 Bibliography ................................................................................................................... 163 v List of Figures 1. Adriaen van Ostade, Festive Peasants, late 1630s, oil on panel, The Hague, Mauritshuis 2. Adriaen van Ostade, Peasants Dancing in a Tavern, 1659, oil on panel, St. Louis Art Museum 3. Frans Hals, Adriaen van Ostade, 1646/1648, oil on canvas, Washington, D.C., National Gallery of Art 4. Page from the biography of Adriaen van Ostade from Cornelis de Bie, Het Gulden Cabinet der Edel Vry Schilderconst, 1662 5. Page from Adriaen van Ostade’s biography in Arnold Houbraken, De groote schouburgh der Nederlandische konstschilders en schilderessen, 1718–1721 6. Page from Adriaen van Ostade’s biography in Arnold Houbraken, De groote schouburgh der Nederlandische konstschilders en schilderessen, 1718–1721 7. Illustration of Adriaen van Ostade from his biography in Arnold Houbraken, De groote schouburgh der Nederlandische konstschilders en schilderessen, 1718–1721 8. Page from Adriaen van Ostade’s biography in Arnold Houbraken, De groote schouburgh der Nederlandische konstschilders en schilderessen, 1718–1721 9. Thomas Thomasz, Map of Haarlem, 1578, engraving 10. Pieter Wils, Map of Haarlem, 1646, engraving, Haarlem, Gemeentearchief 11. Thomas Thomasz., Map of Haarlem and its environs, 1590, drawing, Haarlem, Noord- Hollands Archief 12. Karel van Mander, Bucolica en Georgica, dat is, Ossen-stal en Landt-werck (Amsterdam: Zacharias Heyns, 1597). 13. Hendrick Goltzius, illustration from Karel van Mander’s Bucolica en Georgica, dat is, Ossen-stal en Landt-werck, 1597: The First Eclogue 14. Hendrick Goltzius, illustration from Karel van Mander’s Bucolica en Georgica, dat is, Ossen-stal en Landt-werck, 1597: The Veneration of Ceres 15. Queen Mary’s Psalter, calendar pages for December, c. 1310–1320,
Load more

Recommended publications
  • Het Gulden Cabinet Van De Edel Vry Schilderconst Cornelis De Bie, Het Gulden Cabinet Van De Edel Vry Schilderconst 244
    Het gulden cabinet van de edel vry schilderconst Cornelis de Bie bron Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst. Jan Meyssens, Juliaen van Montfort, Antwerpen 1662 Zie voor verantwoording: http://www.dbnl.org/tekst/bie_001guld01_01/colofon.php © 2014 dbnl 1 Het gulden cabinet vande edele vry schilder-const Ontsloten door den lanck ghevvenschten Vrede tusschen de twee mach- tighe Croonen van SPAIGNIEN EN VRANCRYCK, Waer-inne begrepen is den ontsterffe- lijcken loff vande vermaerste Constminnende Geesten ENDE SCHILDERS Van dese Eeuvv, hier inne meest naer het leven af-gebeldt, verciert met veel ver- makelijcke Rijmen ende Spreucken. DOOR Cornelis de Bie Notaris binnen Lyer. Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst 3 Den geboeyden Mars spreckt op d'uytleggingh van de titel plaet. WEl wijckt dan mijne Macht, en Raserny ter sijden? Moet mijne wreetheyt nu dees boose schant-vleck lijden? Dat ick hier ligh gheboyt en plat ter aert ghedruckt, Ontrooft van Sweert en Schilt, t'gen' my is af-geruckt? Alleen door liefdens kracht, die Vranckrijck heeft ontsteken, Die door het Echts verbont compt al mijn lusten breken, Die selffs de wreetheyt ben, wordt hier van liefd' gheplaegt, Den dullen Orloghs Godt wordt van den Peys verjaeght. Ach! d' Edel Fransche Trouw: (aen Spaenien verbonden:) Die heeft m' allendigh Helt in ballinckschap ghesonden. K' en heb niet eenen vriendt, men danckt my spoedigh aff Een jeder my verstoot, ick sien ick moet in't graff. Nochtans sal menich mensch mijn ongeluck beclaghen Die was ghewoon door my heel Belgica te plaeghen, Die was ghewoon met my te liggen op het landt Dat ick had uyt gheput door mijnen Orloghs brandt, De deught had ick verjaeght, en liefdens kracht ghenomen Midts dat mijn fury was in Neder-landt ghecomen Tot voordeel vanden Frans, die my nu brenght in druck En wederleyt mijn jonst, fortuyn en groot gheluck.
    [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]
  • Adriaen Van Ostade 1646/1648 Oil on Canvas Overall: 94 X 75 Cm (37 X 29 1/2 In.) Andrew W
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Frans Hals Dutch, c. 1582/1583 - 1666 Adriaen van Ostade 1646/1648 oil on canvas overall: 94 x 75 cm (37 x 29 1/2 in.) Andrew W. Mellon Collection 1937.1.70 ENTRY This masterful painting by Frans Hals, which is neither signed nor dated, is unrecorded prior to 1919, when it appeared at a London auction as a self-portrait by the Dutch Italianate painter Nicolaes Pietersz Berchem (Dutch, 1620 - 1683). [1] The identity of the sitter as Berchem cannot be sustained any more than can the attribution to that artist. Berchem’s self-portrait drawing of about 1660 represents a heavier-set person with a more rounded face than that seen in this portrait [fig. 1]. Instead, the artist whom Hals has portrayed here is Adriaen van Ostade (Dutch, 1610 - 1685), the renowned Haarlem painter of rural life. The connection between this painting and Ostade was made by Claus Grimm, who compared this image to two established likenesses of the artist. [2] The first is a small-scale self-portrait in the background of Van Ostade's group portrait of the De Goyer family (Museum Bredius, The Hague) of about 1650. [3] An even more striking comparison is Jacob Gole’s mezzotint portrait of Van Ostade that was executed after a lost painting by the latter’s pupil Cornelis Dusart (Dutch, 1660 - 1704) [fig. 2]. [4] As Eduard Trautscholdt recognized, Dusart must have based his portrait on an earlier representation of the artist; Dusart—who was born in 1660, when his master was fifty years old—depicted Van Ostade as a considerably younger man than he could ever have known.
    [Show full text]
  • Taking Dutch Art Seriously: Now and Next? Author(S): MARIËT WESTERMANN Source: Studies in the History of Art, Vol
    National Gallery of Art Taking Dutch Art Seriously: Now and Next? Author(s): MARIËT WESTERMANN Source: Studies in the History of Art, Vol. 74, Symposium Papers LI: Dialogues in Art History, from Mesopotamian to Modern: Readings for a New Century (2009), pp. 258-270 Published by: National Gallery of Art Stable URL: https://www.jstor.org/stable/42622727 Accessed: 11-04-2020 11:41 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/42622727?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms National Gallery of Art is collaborating with JSTOR to digitize, preserve and extend access to Studies in the History of Art This content downloaded from 85.72.204.160 on Sat, 11 Apr 2020 11:41:16 UTC All use subject to https://about.jstor.org/terms /';-=09 )(8* =-0/'] This content downloaded from 85.72.204.160 on Sat, 11 Apr 2020 11:41:16 UTC All use subject to https://about.jstor.org/terms MARIËT WESTERMANN New York University Taking Dutch Art Seriously : Now and Nextl vative, staid, respectable discipline, some- posium with mounting anxiety.
    [Show full text]
  • ADRIAAN VAN DER WILLIGEN 1766-1841 Lia Van Der Heijden
    ADRIAAN VAN DER WILLIGEN 1766-1841 SCHRIJVER, LIEFHEBBER EN CRITICUS VAN HET TONEEL ROND 1800. Lia van der Heijden ADRIAAN VAN DER WILLIGEN 1766-1841 SCHRIJVER, LIEFHEBBER EN CRITICUS VAN HET TONEEL ROND 1800. Lia van der Heijden Doctoraalscriptie Historische Letterkunde Begeleider: André Hanou Instituut voor Neerlandistiek Universiteit van Amsterdam 25 augustus 1995 Illustratie: Detail van een afbeelding van Adriaan van der Willigen en Roeland van Eynden, gemaakt door J.E. Marcus in april 1815. Collectie Gemeentearchief Tilburg. INHOUD VERANTWOORDING 5 AFKORTINGEN 6 INLEIDING 7 I. BIOGRAFIE 12 Biografische gegevens tot 1795 12 Van der Willigen als politicus 19 Genootschapsleven en onderwijs 27 II. VAN DER WILLIGENS BETROKKENHEID BIJ HET TONEEL ROND 1800 33 Liefhebberij-toneel 34 Professioneel toneel 35 III. VAN DER WILLIGENS TONEELSTUKKEN 37 Selico 38 Claudine 42 Recommandatiebrieven 45 Willem en Klaartje of de voorbeeldige pastoor 47 De oude verliefde dichter alleen 49 IV. REIZEN 52 Frankrijk 52 Italië 58 Engeland 60 Duitsland 61 V. TONEELOPVATTINGEN BINNEN DE GENOOTSCHAPPEN 63 De Wijngaardranken 63 Democriet 65 VI. EXPLICIETE VERWIJZINGEN NAAR TONEELKUNDIGE WERKEN IN VAN DER WILLIGENS DAGBOEK 71 Lof der Tooneeldichtkunde 71 Verhandeling over den invloed van den schouwburg op het zedenlyk karakter 72 VII. TWEE TONEELKRITISCHE TIJDSCHRIFTEN ROND 1800 75 De Tooneelmatige Roskam 75 De Tooneelkijker 76 VIII. VAN DER WILLIGENS TONEELOPVATTING: EEN PLAATSBEPALING 79 LITERATUUR 81 SAMENVATTING 86 VERANTWOORDING In het Gemeentearchief van Tilburg bevinden zich twee dozen met materiaal uit de nalatenschap van Adriaan van der Willigen (1766-1841), afkomstig uit de collectie van Lambert G. de Wijs.1 Dat deze documenten in Tilburg hun plek hebben gevonden, is, hoewel Van der Willigen het grootste gedeelte van zijn leven in Haarlem verbleef, niet verwonder- lijk.
    [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]
  • The Infancy of Jesus and Religious Painting by Gerard De Lairesse
    Volume 12, Issue 1 (Winter 2020) The Infancy of Jesus and Religious Painting by Gerard de Lairesse Robert Schillemans [email protected] Recommended Citation: Robert Schillemans, “The Infancy of Jesus and Religious Painting by Gerard de Lairesse,” Journal of Historians of Netherlandish Art 12:1 (Winter 2020) DOI: 10.5092/jhna.2020.12.1.6 Available at https://jhna.org/articles/the-infancy-of-jesus-and-religious-painting-by-gerard-de- lairesse/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 The Infancy of Jesus and Religious Painting by Gerard de Lairesse Robert Schillemans Just after his arrival in Amsterdam, Lairesse painted an impressive series of six paintings on the infancy of Jesus. This article argues that the series must have been made for the Catholic South, presumably for an ecclesiastical institute in Liège or vicinity. Its character connects his painted cycle with the Counter-Reformation. Lairesse involves the viewer closely with the religious content, encouraging meditation, contemplation, and reflection. Despite his flight to Protestant Amsterdam, and his joining (as a full member) the Francophone Walloon Reformed Church, Lairesse continued to maintain warm links with the highest circles in his native Liège. In the Infancy of Jesus, Lairesse thoroughly studied the engravings of Goltzius’s Life of Mary (as well as Rubens and Rembrandt).
    [Show full text]
  • MARTEN VAN CLEVE I (C. 1527 – Antwerp – Before 1581) a Wedding
    VP4739 MARTEN VAN CLEVE I (c. 1527 – Antwerp – before 1581) A Wedding Procession On canvas, 61¼ X 101 ins. (155.3 X 256 cm) PROVENANCE Marchesa de Bermejillo del Rey, by the early 20th century And by descent to the previous owner Private Collection, Spain, until 2015 LITERATURE M. Diaz Padrón, ‘La Obra de Pedro Brueghel el jóven en Espana”, Archivo Espanol de Arte, 1980, p. 309, fig. 18. K. Ertz, Pieter Brueghel der Jüngere, Lingen, 2000, vol. II, p. 702, no. A830. Against a backdrop of rolling farmlands and a giant windmill, a wedding party makes its way along a road from the village on the right, where preparations are being made for the wedding feast, to the church in the upper left-hand corner. As was customary, the bride and groom walk separately, each processed by a man playing a doedelzac (bagpipes). Tall trees single out the groom, who is identified by the wedding crown he wears on top of his bright red cap. He is followed by two older men, probably the fathers of the bridal couple, and the other menfolk of the village. Then comes the plump and solemn-looking bride, wearing a bridal crown and flanked on either side by pages. She is attended by the two mothers and the other female members of the party. Work in the fields has all but stopped: three sacks of flour sit at the foot of the windmill and a cart stands idle. The workers have all turned out to accompany the wedding procession on its way: among the crowd of well-wishers are young men and old, a shepherd, a miller, his face white with flour, and many more besides.
    [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]
  • The Five Senses in Painting
    Exhibition press release The five senses in painting Villa Vauban – Luxembourg City Art Museum 19 March > 26 June 2016 The five human senses – taste, smell, sight, hearing and touch – belong to the most varied and most appealing subjects of European painting. Whereas in Antiquity and the Middle Ages, the senses had rather negative connotations, being considered deceitful or as a promotion of sin, their perception changed with the increasing scientification of thought in the 17th century. The senses were initially represented symbolically or allegorically. The Dutch painting of the Golden Age gradually replaced the initially symbolical or allegorical representation of the senses with narrative genre scenes. The exhibition presents painting and printed graphics of the 17th to 19th centuries in the form of thematic groups of works. Many international loans from around 20 European museums have been supplemented with the collections of Villa Vauban. A first group of works concentrates on the diversity of allegorical representations of the five senses in Flemish and Dutch 17th-century painting. Large-format allegories and small cabinet paintings with picture cycles by Old Masters like Cornelis de Vos, Adriaen van Ostade, Jan Miense Molenaer, Barent Fabritius, Ambrosius Francken the Younger and Herman van Aldewereld are shown. The second group of works is dedicated to French still-life painting, blossoming since the 1620s/30s, and its approach to the theme of the five senses. Painters like Jacques Linard and Louise Moillon resided in Paris and were associated with a group of Protestant artists that had specialised in this genre. The section also includes a painting of the important Strasbourg still-life master Sebastian Stoskopff (1597-1657).
    [Show full text]
  • The Image and Identity of the Alchemist in Seventeenth-Century
    THE IMAGE AND IDENTITY OF THE ALCHEMIST IN SEVENTEENTH-CENTURY NETHERLANDISH ART Dana Kelly-Ann Rehn Dissertation submitted in partial fulfillment of the coursework requirements for the degree of Master of Arts (Studies in Art History) School of History and Politics University of Adelaide July 2011 TABLE OF CONTENTS TITLE PAGE i TABLE OF CONTENTS ii LIST OF ILLUSTRATIONS iii DECLARATION v ABSTRACT vi ACKNOWLEDGEMENTS vii 1 INTRODUCTION 1 2 ALCHEMY: A CONTROVERSIAL PROFESSION, PAST AND PRESENT 7 3 FOOLS AND CHARLATANS 36 4 THE SCHOLAR 68 5 CONCLUSION 95 BIBLIOGRAPHY 103 CATALOGUE 115 ii LIST OF ILLUSTRATIONS FIGURE 1 Philip Galle (After Pieter Bruegel the Elder), The Alchemist, c.1558 118 FIGURE 2 Adriaen van de Venne, Rijcke-armoede („Rich poverty‟), 1636 119 FIGURE 3 Adriaen van Ostade, Alchemist, 1661 120 FIGURE 4 Cornelis Bega, The Alchemist, 1663 121 FIGURE 5 David Teniers the Younger, The Alchemist, 1649 122 FIGURE 6 David Teniers the Younger, Tavern Scene, 1658 123 FIGURE 7 David Teniers the Younger, Tavern Scene, Detail, 1658 124 FIGURE 8 Jan Steen, The Alchemist, c.1668 125 FIGURE 9 Jan Steen, Title Unknown, 1668 126 FIGURE 10 Hendrik Heerschop, The Alchemist, 1671 128 FIGURE 11 Hendrik Heerschop, The Alchemist's Experiment Takes Fire, 1687 129 FIGURE 12 Frans van Mieris the Elder, An Alchemist and His Assistant in a Workshop, c.1655 130 FIGURE 13 Thomas Wijck, The Alchemist, c.1650 131 FIGURE 14 Pierre François Basan, 1800s, after David Teniers the Younger, Le Plaisir des Fous („The Pleasure of Fools‟), 1610-1690 132 FIGURE 15
    [Show full text]
  • On Brabant Rubbish, Economic Competition, Artistic Rivalry, And
    UvA-DARE (Digital Academic Repository) On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century Sluijter, E.J. Publication date 2009 Document Version Final published version Published in Journal of Historians of Netherlandish Art Link to publication Citation for published version (APA): Sluijter, E. J. (2009). On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century. Journal of Historians of Netherlandish Art, 1(2). http://jhna.org/index.php/volume-1-issue-2/72- vol1issue2/109-on-brabant-rubbish-economic-competition-artistic-rivalry-and-the-growth-of- the-market-for-paintings-in-the-first-decades-of-the-seventeenth-century General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 HOME VOLUME 1: ISSUE 2 PAST ISSUES SUBMISSIONS ABOUT JHNA SUPPORT JHNA CONTACT search..
    [Show full text]