Philippe Caudroit
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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 -
Jacob Toorenvliet and His NCMA Paintings a Woman Holding A
Jacob Toorenvliet and his NCMA paintings A Woman Holding a Basket of Eggs A Bearded Man Holding a Pipe Circa 1667 Oil on Copper Gift to the North Carolina Museum of Art from the NCMA Foundation Volunteers On July 9, 2014 the NCMA Foundation Volunteers purchased pendant, genre paintings by Jacob Toorenvliet, a painter of the Dutch Golden Age. The paintings, A Woman Holding a Basket of Eggs and A Bearded Man Holding a Pipe, are signed and dated in the upper left corner of each painting. The paintings were purchased through Bonhams Auction House in London by telephone bid during a live auction. According to Dennis Weller, “Jacob Toorenvliet’s A Bearded Man Holding a Pipe and A Woman Holding a Basket of Eggs would serve as important acQuisitions in that they would represent the first examples by a Leiden fijnschilder to enter the collection.” (September 10, 2014 Art AcQuisition Proposal) The paintings are included in the NCMA “Small Treasures: Rembrandt, Vermeer, Hals and Their Contemporaries” exhibition, October 2014 to January 2015. They will be on view later as part of the NCMA permanent collection. Jacob Toorenvliet (1635 – 1719) Jacob Toorenvliet was one of the Leiden fijnchilders (fine painters) of the Dutch Golden Age. He specialized in genre scenes. In addition to painting rural types, such as the ones found in these two paintings, Toorenvliet also painted doctor’s visits, music lessons, and card players in elegant interiors like his teacher, Frans van Mieris the Elder. Jacob Toorenvliet was born in Leiden, studied in Leiden and painted primarily in The Netherlands and Italy. -
I GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND
GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND INTIMATE DISPLAY by Nicole Elizabeth Cook A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2016 © 2016 Nicole Elizabeth Cook All Rights Reserved i ProQuest Number: 10192313 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10192313 Published by ProQuest LLC ( 2016 ). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND INTIMATE DISPLAY by Nicole Elizabeth Cook Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: ___________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education ii I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ H. Perry Chapman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Holanďan bludný - Bludný Holanďan holandská architektúra - http://nl.wikipedia.org/wiki/Categorie:Architectuur_in_Nederland http://en.wikipedia.org/wiki/Category:Dutch_architecture holandská bieloba - bieloba holandská/bieloba kremžská holandská história - http://nl.wikipedia.org/wiki/Categorie:Geschiedenis_van_Nederland holandská história podľa obdobia - http://en.wikipedia.org/wiki/Category:History_of_the_Netherlands_by_period http://nl.wikipedia.org/wiki/Categorie:Geschiedenis_van_Nederland_naar_periode holandská renesancia - (1500-1584); http://en.wikipedia.org/wiki/Category:Dutch_Renaissance holandská škola (maľby) - maliari v Holandsku od ranej renesancie do baroka; to zahŕňa rané obdobie holandského maliarstva (pozri holandskí maliari raní, flámski primitívi), ktoré spadá do obdobia 1400-1500, a holandskú renesanciu (1500-1584), čo boli umelci činní v severných nížinách, a neskôr do holandskej školy bol zaraďovaný aj holandský zlatý vek maľby (pozri holandskí maliari zlatého veku), čo bola maľba v zjednotených provinciách; mnoho maliarov, sochárov a architektov zo 17.st. je nazývaných „holandskí majstri“, zatiaľ čo skorší umelci sú všeobecne označovaní ako súčasť „holandskej“ tradície; Hieronymus Bosch a Geertgena tot Sint Jans sú dobre známe príklady holandských maliarov 15. a 16.st.; Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael a Jan Steen zastupujú holandské umenie 17.st.; individuálne diela, ktorých umelca nemožno zistiť, sú označované alebo -
Print, Amsterdam, 1976), 3: 2
Jacob Toorenvliet (Leiden 1640 – 1719 Leiden) How to cite Bakker, Piet. “Jacob Toorenvliet” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/jacob-van- toorenvliet/ (accessed September 26, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Jacob Toorenvliet Page 2 of 10 Jacob Toorenvliet was baptized in Leiden on 1 July 1640. His parents were Abraham Toorenvliet (ca. 1610–92) and Maria Willemsdr van der Hulle (d. 1649). Jacob’s father was a drawing master and glass painter, and as of 1636 a member of the Glassmakers’ Guild, of which he was either headman or dean almost continuously between 1645 and 1687. In 1649 he also became a member of the recently founded Guild of Saint Luke, giving his profession as “Constschilder” (“painter”) in two documents.[1] He was elected headman and dean of the Guild of Saint Luke, presumably for his administrative skills, as he does not seem to have been a particularly productive painter.[2] He did, however, enjoy a great reputation as a drawing master,[3] a skill that benefitted not only his son, but also Frans van Mieris the Elder (1635–81), and Mathijs Naiveu (1647–1726).[4] A year after Jacob’s mother died in 1649, his father married Geertruy Somers (d. -
The Leiden Collection Catalogue, 3Rd Ed
Willem van Mieris (Leiden 1662 – 1747 Leiden) How to cite Bakker, Piet. “Willem van Mieris” (2020). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/willem-van- mieris/ (accessed September 25, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Willem van Mieris Page 2 of 7 Willem van Mieris was born in Leiden on 3 June 1662. He was the second son of the painter Frans van Mieris the Elder (1635–81) and Cunera van der Cock (1629/30–1700). Like his older brother, Jan van Mieris (1660–90), Willem too became a painter. Naturally, both sons were instructed by their father, and according to Jacob Campo Weyerman (1677–1747), who knew Willem personally, the latter was so advanced that after his father’s sudden death in 1681, he was able to “to stand on his own two artistic feet.”[1] It is highly likely that Frans was the only teacher of Willem and Jan, and the two brothers presumably took over their father’s workshop upon his untimely death. If this was indeed the case, Willem was probably in charge, given that he was the first of the two to join the Guild of Saint Luke in Leiden, on 21 June 1683; Jan followed suit three years later. -
The Leiden Collection Catalogue, 2Nd Ed
Jacob Toorenvliet (Leiden 1640 – 1719 Leiden) How to cite Bakker, Piet. “Jacob Toorenvliet” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/jacob-van-toorenvliet/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Jacob Toorenvliet was baptized in Leiden on 1 July 1640. His parents were Abraham Toorenvliet (ca. 1610–92) and Maria Willemsdr van der Hulle (d. 1649). Jacob’s father was a drawing master and glass painter, and as of 1636 a member of the Glassmakers’ Guild, of which he was either headman or dean almost continuously between 1645 and 1687. In 1649 he also became a member of the recently founded Guild of Saint Luke, giving his profession as “Constschilder” (“painter”) in two documents.[1] He was elected headman and dean of the Guild of Saint Luke, presumably for his administrative skills, as he does not seem to have been a particularly productive painter.[2] He did, however, enjoy a great reputation as a drawing master,[3] a skill that benefitted not only his son, but also Frans van Mieris the Elder (1635–81), and Mathijs Naiveu (1647–1726).[4] A year after Jacob’s mother died in 1649, his father married Geertruy Somers (d. before 1656), the widow of Jan Dou (1609–ca. 1647), a producer of church glass. Abraham and Jan’s brother, Gerrit Dou (1613–75),