DOCSLIB.ORG

Ontdek Schilder, Tekenaar Philips Wouwerman

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ontdek Schilder, Tekenaar Philips Wouwerman 85690 4 afbeeldingen Philips Wouwerman man / Noord-Nederlands schilder, tekenaar Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Wouwerman, Philips Pauwelsz. Wouwermans, Philips Wouwermans, Philips Pauwelsz. Monogrammeert als PHILSW PH W PHILS interlaced Permutatie HILPS Kwalificaties schilder, tekenaar Nationaliteit/school Noord-Nederlands Geboren Haarlem 1619-05/1619-05-24 baptized on May 24, 1619 (Von Wurzbach 1910) Overleden Haarlem 1668-05-19 buried in the Nieuwe Kerk on May 23, 1668. Mentioned as day of death in Houbraken 1719, p. 76. Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. son of Paulus Wouwerman; brother of Jan and Pieter Wouwerman II; half-brother of Pieter Wouwermand I. He married the catholic Annetje Pietersdr. van Broeckhof from Haarlem; they were the parents of Luduwina Wouwerman (who married Henri de Fromantiou) and Paulus Wouwerman II Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Appelman, Bartholomeus Decker, Cornelis Gerritsz. Decker, Evert Ruisdael, Jacob van Wijnants, Jan Wouwerman painted the staffage in landscapes by e.g. Jacob van Ruisdael, Jan Wijnants and Cornelis Gerritsz. Decker (Sutton et al. 1987-1988, p. 438, 526). Deze persoon/entiteit in andere databases 677 treffers in RKDimages als kunstenaar 17 treffers in RKDlibrary als onderwerp 6187 treffers in RKDexcerpts als kunstenaar 53 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1619-05 Sterfplaats Haarlem Plaats van werkzaamheid Hamburg Plaats van werkzaamheid Haarlem Kwalificaties schilder Kwalificaties tekenaar Materiaal/techniek olieverf Onderwerpen genrevoorstelling Onderwerpen historie (als genre) Onderwerpen italianiserend Onderwerpen landschap (als genre) Onderwerpen ruiterstuk Onderwerpen strandgezicht Onderwerpen winterlandschap Onderwerpen portret Onderwerpen marine (als genre) Onderwerpen architectuur (genre) Onderwerpen boerengenre Standplaats archief archief Le Roy Biografische gegevens Werkzame periode 1639 - 1668 earliest signed and last known work Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Hamburg 1638 - 1639 married with the catholic Annetje Pietersdr. van Broeckhof from Haarlem in Hamburg; worked in the studio of Evert Decker Haarlem 1640 - 1668 returned to Haarlem in 1640 and became a member of the guild on September 4th; Reyer Jacobsz. van Blommendael bought a large house corner Sint Jansstraat - Begijnhof on 2 May 1658 from Philips Wouwerman (Biesboer/Köhler et al. 2006, p. 111) Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'. Wouwerman, Paulus possibly also of Frans Hals Leraar van in dit veld worden namen van leerlingen vermeld. Het gaat hier om die leerlingen waarbij de leraar een relevante rol heeft gespeeld in diens vorming, dus niet om alle academieleerlingen die iemand heeft gehad. Zie ook het veld 'Opleiding'. Bent, Johannes van der Berckman, Hendrick Ficke, Nicolaes Gael, Barent Haen, Anthony de Huchtenburg, Jan van Murant, Emanuel Scheits, Matthias Withold, Kort Wouwerman, Jan Wouwerman, Pieter (II) Nagevolgd door in dit veld worden de navolgers van de kunstenaar vermeld. Hoewel leerlingen natuurlijk ook navolgers kunnen zijn, worden die hier niet opnieuw vermeld. Met navolgers worden kunstenaars bedoeld die het werk van een voorganger in diens geest voortzetten. Dit kan soms zelfs een eeuw later zijn; er is hiervoor geen tijdslimiet. Het gaat hier wel om iemand van wie het hele werk grotendeels in de trant is van de nagevolgde kunstenaar. Andrews, Henry Bidauld, Joseph Bracht, Frederik Christian van Brinckmann, Philipp Hieronymus Duplessis, Michel Duval, Eustache François Falens, Carel van Gebauer, Christian David Kalraet, Barent van Kobell, Wilhelm von Koogen, L. van Lentzner, Johann Nikolaus Lin, Herman van Mayerle, Franz Anton Querfurt, August Beïnvloed door In tegenstelling tot ‘navolger van’ spreken we van ‘beïnvloed door’ als de kunstenaar werd beïnvloed zonder dat er sprake was van een lessituatie of van slaafse navolging. Een kunstenaar kan door meer kunstenaars tegelijk of na elkaar beïnvloed zijn en vaak is er ook sprake van een vertaalslag naar de eigen stijl, die een ontwikkeling kan vertonen. Laer, Pieter van Invloed op In dit veld worden de kunstenaars vermeld op wie de beschreven kunstenaar invloed heeft gehad zonder dat er sprake was van een onderwijssituatie of van slaafse navolging. Aken, Jan van Bach, Alois Bellay, François Blijhooft, Zacharias Casanova, Francesco Cignaroli, Angelo Antonio Demarne, Jean-Louis Douw, Simon Johannes van Gauermann, Friedrich Graf, Johann Kalraet, Barent van Koolen, Jacobus Lantara, Simon Mathurin Libalt, Gottfried Meulen, Adam Frans van der Pforr, Johann Georg Pillement, Jean Rive, Pierre Louis de la Swebach, Jacques François Joseph Verdussen, Jan Peeter Wootton, John Wyck, Jan Onderwerpen In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur. genrevoorstelling, historie (als genre), italianiserend, landschap (als genre), ruiterstuk, strandgezicht, winterlandschap, portret, marine (als genre), architectuur (genre), boerengenre Materiaal/techniek olieverf Literatuur Literatuur in RKDLibrary 17 treffers in RKDlibrary als onderwerp Houbraken 1718-1721 , vol. 2 (1719), p. 70-76, 102, 128, 131, 132, 273; vol. 3 (1721), p. 76, 187, 274, 288, 321 (as: Philip Wouwerman) Von Wurzbach 1906-1911 , vol. 2 (1910), p. 902-903 Hofstede de Groot 1907-1928 (German edition) , vol. 2 (1908) Thieme/Becker 1907-1950 , vol. 36 (1947), p. 265-268 (as Philips Wouwerman) Gerson 1942/1983 , passim Bol 1973 , p. 250-251 The Illustrated Bartsch (1978-) , vol. 1 (1978), p. 367-368 Witt Checklist 1978 Sutton/Blankert 1987 , p. 527-534 (L.J. Slatkes) Briganti et al. 1991 , p. 302 Hollstein et al. 1949-2010 , vol. 54 (1999), p. 71-79 Harwood et al. 2002 , p. 186 Biesboer/Köhler et al. 2006 , p. 111, p. 357-361 (I. van Thiel-Stroman, 'Philips Pauwelsz Wouwerman‘) Posada Kubissa 2009 , p. 262 Maës/Blanc 2010 , passim Th. von Frimmel, 'Vermutliche Herkunft des Philips Wouwerman in der Braunschweiger Galerie', Blätter für Gemäldekunde 1/3 (1904), p. 49-50 ( and Blätter für Gemäldekunde 1/10 (1905), p. 187 F.J. Duparc, 'Philips Wouwerman, 1619-1668', Oud Holland 107 (1993), p. 257-286 F.J. Duparc, 'Philips Wouwerman's Festive Peasants before a Panorama', The Bulletin of the Minneapolis Institute of Arts 67 (1995), p. 34-41 K. Bürger, '...wo sich Pferde bäumen, wo der Kampf...wütet...; Philips Wouwerman als Schlachtenmaler', Weltkunst 72 (2002), p. 1414- 1418 K. Bürger, ''...wie man einen kostbaren Diamanten kauft...': Zur Sammlung der Werke Philips Wouwermans (1619-1668) am Dresdener Hof der August II. und August III.', Dresdener Kunstblätter 47 (2003), p. 139-46 K. Bürger, '"Die besten Kenner getäuscht...". Carel van Falens (1683-1733) nur ein Kopist und Nachahmer von Philips Wouwerman?', Dresdener Kunstblätter 50 (2006), p. 288-298 B. Schumacher, 'Der Schimmelmaler', Weltkunst 77, no. 3 (March 2007), p. 14-19 Q. Buvelot, 'Op zoek naar klandizie. De offertes van Philips Wouwerman', Kunstschrift 53 (2009), no. 4, p. 19-21 G. Wuestman, 'Wouwerman on Delftware', The Rijksmusem Bulletin 57 (2009), p. 236-243 L. Pijl, 'Philips Wouwerman, Kassel and The Hague' (review exhibition), The Burlington Magazine 152 (2010), no. 1283, p. 125-126 Q. Buvelot, S. Alsteens, 'A rediscovered drawing by Philips Wouwerman', Master Drawings 51 (2013), p. 445-450 Aterido et al. 2004 Documentatie RKD In dit veld worden de standplaatsen vermeld van documentatiemateriaal in het RKD. De meeste standplaatsen verwijzen naar de kunsthistorische beelddocumentatie. Daarnaast treft u verwijzingen naar persdocumentatie aan (knipsels en klein drukwerk). BD/RKD/0134 - ONT/Genre: algemeen BD/RKD/0136 - ONT/Genre: boeren BD/RKD/0138 - ONT/Genre: soldaten, ruiters en jagers BD/RKD/0140 - ONT/Figuren BD/RKD/0142 - ONT/Naaktfiguren BD/RKD/0144 - ONT/Portretten en koppen BD/RKD/0152 - ONT/Landschappen BD/RKD/0156 - ONT/Italianiserende landschappen BD/RKD/0158 - ONT/Winterlandschappen en -taferelen BD/RKD/0160 - ONT/Marines, kusten en havens BD/RKD/0162 - ONT/Stadsgezichten en architectuur BD/RKD/0172 - ONT/Dieren en gedrochten BD/RKD/0278 - ONT/Voorordening tekenkunst BD/RKD/0280 - ONT/Originele grafiek (op inventor) BD/RKD/0297 - ONK/Wandtapijten BD/RKD/0542 - ONS/Historie 2 BD/RKD/0558 - ONS/Genre 2: algemeen BD/RKD/0560 - ONS/Genre 2: volksleven BD/RKD/0588 - ONS/Landschappen met soldaten/ruiters/jagers BD/RKD/0590 - ONS/Winterlandschappen
Load more

Recommended publications
  • Wouwerman, Philips Also Known As Wouwermans, Philips Dutch, 1619 - 1668
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Wouwerman, Philips Also known as Wouwermans, Philips Dutch, 1619 - 1668 Philips Wouwerman, Self-Portrait, 1634–1668, red chalk, touched with black chalk, on buff paper, The British Museum, London, inv. 18,360,811.59. © Trustees of the British Museum BIOGRAPHY Philips Wouwerman, a prolific painter of equestrian scenes, hailed from Haarlem, where he was baptized on May 24, 1619. The eldest of three sons born to the painter Pouwels Joosten and Susanna van den Bogert, Pouwels’ fourth wife, Wouwerman probably first learned to paint from his father. According to his earliest biographer, Cornelis de Bie, he was then apprenticed to Frans Hals (Dutch, c. 1582/1583 - 1666).[1] Wouwerman also may have received some training in the representation of horses from the Haarlem artist Pieter Verbeeck (1610/1615–1652/1654).[2] In 1638 Wouwerman briefly left the Netherlands for Hamburg. According to Matthias Scheits (c. 1625/1630–c. 1700), a student of the artist, Wouwerman fled the Netherlands in order to marry a Catholic girl, Annetje Pietersz van Broeckhof, against the wishes of his Protestant family.[3] Although no records of the wedding exist in the marriage register of Hamburg’s Catholic community, the fact that Scheits knew Wouwerman personally argues for the validity of his account. Wouwerman’s journey to Hamburg, however, involved more than just a wedding; he also spent some time working in the studio of the obscure German history painter Evert Decker (d. 1647). By 1640 Wouwerman and his wife had returned to Haarlem, where the artist was admitted into the local Saint Luke’s Guild on August 8 of that year.
    [Show full text]
  • Thesis, University of Amsterdam 2011 Cover Image: Detail of Willem Van Mieris, the Lute Player, 1711, Panel, 50 X 40.5 Cm, London, the Wallace Collection
    UvA-DARE (Digital Academic Repository) Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age Aono, J. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Aono, J. (2011). Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age. 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 Imitation and Innovation Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Imitation and Innovation: Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Ph.D. thesis, University of Amsterdam 2011 Cover image: detail of Willem van Mieris, The Lute Player, 1711, panel, 50 x 40.5 cm, London, The Wallace Collection.
    [Show full text]
  • Landscape with a Hawking Party Stopped by a River Oil on Canvas 67.3 X 82.4 Cm (26½ X 32½ In)
    Philips Wouwerman (Haarlem 1619 - Haarlem 1668) Landscape with a Hawking Party Stopped by a River oil on canvas 67.3 x 82.4 cm (26½ x 32½ in) Landscape with a Hawking Party Stopped by a River is thought to be a pendant to Landscape with Travellers Waiting for a Ferry, formally in the collection of the Empress Catherine II of Russia, at the Hermitage Palace, and sold at Christies, New York, in January 1997. Landscape with Travellers Waiting for a Ferry is dated to the year 1650. Dr. Birgit Schumacher (see Literature) dates the present painting to 1650, while Professor Wolfgang Maier-Preusker (see Literature) dates it to 1649; either date supports the opinion that both pictures were painted as a pair. They are also of the same unusual format and dimensions, being larger than most of Philips Wouwerman’s oeuvre. The compositions mirror each other in that a group of people are assembled near a body of water with mountainous terrain behind them, providing further evidence that they were intended to be viewed together. In the present painting, three riders on horseback stop by a lake where washerwomen are engaged about their daily work. Peasants leading donkeys laden with goods walk down the path and two Franciscan monks dressed in brown cowls stop as one adjusts his sandal. Near the water’s edge, the activity is at its height, with women washing and wringing out clothing and heaping them in baskets to carry back up the hill. Wet clothes are laid out on the grassy slopes to dry in the sun.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hapi - 1.jeden zo štyroch synov egyptského boha Hóra, ochranca kanop, prevteľujúci sa do posvätného zvieraťa - býka; Hapi bol aj služobníkom a pozemským vtelením boha Ptaha; neskoršie spájaný aj s kultom Usíreva (pozri Osirapis); zobrazovaný ako býk so slnečným kotúčom medzi rohami, s orlími krídlami na šiji a plášťom cez chrbát (pozri monštrá); symbol plodnosti; tiež boh severu a boh vetra severného; pozri bohovia plodnosti; egyptskí bohovia 2.v gréčtine Apis 3.meno pre egypt. boha Nílu; pozri Hopej 4.v stredoveku častý heraldický motív (hlava) http://cs.wikipedia.org/wiki/Hapi_(syn_Hora) http://cs.wikipedia.org/wiki/Hapi_(b%C5%AFh_z%C3%A1plav) happening - angl. – „udalosť, náhodná príhoda“; jedna z foriem akčného umenia po 2.svetovej vojne, zdôrazňujúca samotný tvorivý proces, založený na kolektívnosti a improvizácii s cieľom vtiahnuť diváka do deja a šokovať ho absurditou (tým sa líši napr. od performance, ktorá má formu divadelného predstavenia bez tvorivej účasti diváka); medzná forma tvorby, ktorá nesmeruje ku klasickému typu trvácneho výtvarného diela, ale má povahu akcie (umelé vytváranie udalostí, logicky nespojených a situovaných do životnej reality (akcia síce pripravená, ale nevyskúšaná, realizovaná laikmi); termín prvý raz použitý A.Kaprowom koncom 50.rokov v New Yorku pri akcii nazvanej 16 happeningov v šiestich dieloch, ktorá bola považovaná za predobraz zásad ďalších akcií; v 60.rokoch rozvinutý v USA a západnej Európe; napriek tomu happening nie je celkom novým prvkom tvorby, poznal ho aj stredovek; v happeningu možné nájsť prvky futurizmu, dadaizmu, surrealizmu, pop-artu (pozri Archizoom Associanti), inšpiráciu divadlom, hudbou, literatúrou, tancom; čiastočne sociálne a politicky kritický, ale aj s rysmi nihilizmu, anarchizmu a antiumenia; pozri procedurálne umenie, gestická maľba, event art, multimediálne umenie, Burning Man schéma: abstraktný expresionizmus (po 2.sv.vojne): akčné umenie/performance akčná maľba/action paiting dripping dip paiting happening tachizmus a art informel J.
    [Show full text]
  • Dutch and Flemish Art at the Utah Museum of Fine Arts A
    DUTCH AND FLEMISH ART AT THE UTAH MUSEUM OF FINE ARTS A Guide to the Collection by Ursula M. Brinkmann Pimentel Copyright © Ursula Marie Brinkmann Pimentel 1993 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112. This publication is made possible, in part, by a grant from the Salt Lake County Commission. Accredited by the CONTENTS Page Acknowledgments…………………………………………………………………………………………………..……...7 History of the Utah Museum of Fine Arts and its Dutch and Flemish Collection…………………………….…..……….8 Art of the Netherlands: Visual Images as Cultural Reflections…………………………………………………….....…17 Catalogue……………………………………………………………………………………………………………….…31 Explanation of Cataloguing Practices………………………………………………………………………………….…32 1 Unknown Artist (Flemish?), Bust Portrait of a Bearded Man…………………………………………………..34 2 Ambrosius Benson, Elegant Couples Dancing in a Landscape…………………………………………………38 3 Unknown Artist (Dutch?), Visiones Apocalypticae……………………………………………………………...42 4 Pieter Bruegel the Elder, Charity (Charitas) (1559), after a drawing; Plate no. 3 of The Seven Virtues, published by Hieronymous Cock……………………………………………………………45 5 Jan (or Johan) Wierix, Pieter Coecke van Aelst holding a Palette and Brushes, no. 16 from the Cock-Lampsonius Set, first edition (1572)…………………………………………………..…48 6 Jan (or Johan) Wierix, Jan van Amstel (Jan de Hollander), no. 11 from the Cock-Lampsonius Set, first edition (1572)………………………………………………………….……….51 7 Jan van der Straet, called Stradanus, Title Page from Equile. Ioannis Austriaci
    [Show full text]
  • A Study of the Hybrid Genre of Seventeenth-Century Dutch Family
    Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture By © 2017 Denise Giannino M.A., University College London, 2005 M.A., Florida State University, 2006 Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Linda Stone-Ferrier David Cateforis Stephen Goddard Anne D Hedeman William Keel Date Defended: 3 November 2017 ii The dissertation committee for Denise Giannino certifies that this is the approved version of the following dissertation: Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture Chair: Linda Stone-Ferrier Date Approved: 3 November 2017 iii Abstract In the seventeenth century, the proliferation of Dutch family portraits among the broad middle class was a distinctive facet of artistic production. Within this visual trend, the vast majority of such paintings present the sitters in outdoor environs rather than the domestic sphere. This dissertation focuses on such images and adopts the term “family-landscape portrait” to highlight the hybrid nature of the images that commemorate a particular family within a specific locale. I consider the particularities of seventeenth-century Dutch family-landscape portraiture as a separate pictorial genre and attend to the ways in which these images construct identity and generate meaning, including through the blending of portraiture and landscape conventions. In order to investigate the complex meanings of family-landscape portraits, this dissertation will consider the images from the perspective of the biographical circumstances of the sitters’ lives; contemporary cultural, socioeconomic and political issues that inflect the choice of symbols or locale; and the pictorial traditions from which the images stem.
    [Show full text]
  • 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
    [Show full text]
  • Rembrandt's “Little Swimmers” in Context
    REMBRANDT’S “LITTLE SWIMMERS” IN CONTEXT Stephanie S. Dickey In an etching of 1651, Rembrandt depicts a group of men swimming in a forest glade. His treatment of the theme is unconventional not only in the starkly unidealized rendering of the figures but also in their mood of pensive isolation. This essay situates Rembrandt’s etching within a surprisingly complex visual tradition, revealing associations with social class, masculinity, and the struggle of man against nature. Artists who contributed to this tradition included Italian and Northern masters represented in Rembrandt’s print collection as well as contemporaries active in his own circle. DOI: 10.18277/makf.2015.05 or the festchrift in 2011 honoring our distinguished colleague Eric Jan Sluijter, Alison Kettering contributed an insightful essay on representations of the male nude by Rembrandt van Rijn (1606–1669).1 Rembrandt’s female nudes have attracted critical notice since his own time,2 but much less attention has been paid to depictions Fof the male body either in his work or in Dutch art more generally. As co-editor of the Sluijter festschrift, I had the pleasure of discussing this topic with Alison, and of puzzling together over a small etching completed by Rembrandt in 1651 (fig. 1). Modern cataloguers usually entitle it The Bathers, the title I will retain here, but its nickname among seventeenth-century collectors was De zwemmetjes, or “The Little Swimmers.” Significantly, this title is first recorded in the estate inventory of the print-seller Clement de Jonghe, whose portrait Rembrandt etched in 1651, the same year as The Bathers.3 Rembrandt produced only a single state of the plate, but watermark evidence indicates that he reprinted it several times, occasionally (as in fig.
    [Show full text]
  • Rembrandt and the Female Nude AUP SLUIJTER.REMBRANDT 24X26,5 V20 27-08-2006 17:01 Pagina 2 AUP SLUIJTER.REMBRANDT 24X26,5 V20 27-08-2006 17:01 Pagina 3
    AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 1 Rembrandt and the Female Nude AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 2 AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 3 Rembrandt and the Female Nude Eric Jan Sluijter amsterdam university press AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 4 The publication of this book is made possible by a grant from XXX Coverdesign and layout: Suzan Beijer, xxx Frontcover: Rembrandt, Suzanna, xxx Backcover: xxx isbn 13 978 90 5356 837 8 isbn 10 90 5356 837 9 nur 654 © Amsterdam University Press, 2006 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 5 Table of Contents Preface and Acknowledgments 9 i Introduction ? ii Andromeda Chained to the Rock ? Andromeda by Hendrick Goltzius and his circle ? The image of Andromeda’s plight as metaphor ? Rembrandt and Andromeda ? iii Intermezzo Rembrandt and the Depiction of the Passions ? in the 1620s and 1630s Rembrandt, Huygens, rhetoric, and antiquity ? Samuel van Hoogstraten and Rembrandt’s lijdingen de gemoeds ? A theatrical analogy ? Rembrandt, Rubens, antiquity, and the passions: a case study ? iv Susanna and the Elders ? Susanna in
    [Show full text]
  • Dutch Golden Age Painting 1 Dutch Golden Age Painting
    Dutch Golden Age painting 1 Dutch Golden Age painting Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history generally spanning the 17th century,[1] during and after the later part of the Eighty Years War (1568–1648) for Dutch independence. The new Dutch Republic was the most prosperous nation in Europe, and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south, and the upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art needed to reinvent itself entirely, a task in which it was very largely successful. Although Dutch painting of the Golden Age comes in the general European period of Baroque painting, and often shows many of Johannes Vermeer, The Milkmaid (1658–1660) its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting.
    [Show full text]
  • Large Print Labels
    Large Print Labels Dutch Painting in the Age of Rembrandt from the Museum of Fine Arts Boston October 20, 2019—January 12, 2020 Main Exhibition Galleries, East Building Dutch Painting in the Age of Rembrandt from the Museum of Fine Arts, Boston The paintings in this exhibition provide a window into a distinctive time and place. The 17th century Dutch Republic gained independence from Spain during the Eighty Years’ War (1568-1648) and quickly came to international prominence. Protestantism became its official religion, and the powerful merchant class governed together with the Princes of Orange. Local allegiances persisted in the Republic’s seven small low- lying provinces, while a worldwide presence transformed it into a global trading powerhouse. The artists featured in this exhibition painted for an expanded marketplace that included the newly prosperous middle class as well as the wealthy elite. These painters developed numerous specialties and redefined traditional subjects. Portraits for the growing merchant class comprised most of their commissioned work. Other types of paintings were created for the open market and appealed to households across income levels. Artists portrayed their natural surroundings and favorite pastimes, as well as religious narratives, domestic interiors, and imported luxury objects. Some paintings also referenced the broader impact of the Republic’s overseas enterprises, which included colonial expansion and the transatlantic trade in enslaved Africans. The 17th century was a time of transformation for the Dutch—political, religious, social, economic, demographic, and even geographic. The paintings on view in this exhibition bring many aspects of this world to life and have much to tell us about the legacy of this era.
    [Show full text]
  • 2013. the Report Was Adopted on 4 March 2013
    ADVISORY COMMITTEE ON THE ASSESSMENT OF RESTITUTION APPLICATIONS FOR ITEMS OF CULTURAL VALUE AND THE SECOND WORLD WAR Report 2013 ADVISORY COMMITTEE ON THE ASSESSMENT OF RESTITUTION APPLICATIONS FOR ITEMS OF CULTURAL VALUE AND THE SECOND WORLD WAR Report 2013 Visiting address: Lange Voorhout 13 Postal address: P.O. Box 556 2501 CN The Hague, The Netherlands tel: +31 (0)70 376 5992 e-mail: [email protected] internet: www.restitutiecommissie.nl/en Cover illustration Glazed pottery dish with polychromed decor of female bust, Deruta (NK 575) List of contents Foreword 5 1. Introduction 7 2. The Restitutions Committee 8 2.1 History in brief 8 2.2 Terms of reference 9 2.3 Members and employees of the Restitutions Committee 10 2.4 Brief overview of activities in 2013 11 3. Quantitative overview 14 3.1 2002 - 2013 overview 14 3.2 Dutch National Art Collection cases 14 3.3 Revised recommendations 15 3.4 Cases relating to works not in the Dutch National Art Collection 16 3.5 Status at the end of 2013 16 4. Opinions and recommendations issued in 2013 18 Appendices 71 3 Foreword WITH TWO PEALS OF THUNDER. That is how 2013 ended as far as looted art problems are concerned. One was on 29 October when the Netherlands Museums Association (NMV) presented the outcome of their provenance investigation of museum acquisitions since 1933. The results show that the provenance of 139 works of art and Jewish ritual items in Dutch public museums indicates looting, confiscation, forced sale or other suspicious circumstances between 1933 and 1945.
    [Show full text]