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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 ................................................................................................................. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before Heading
FRANS VAN MIERIS the Elder (1635 – Leiden – 1681) A Self-portrait of the Artist, bust-length, wearing a Turban crowned with a Feather, and a fur- trimmed Robe On panel, oval, 4½ x 3½ ins. (11 x 8.2 cm) Provenance: Jan van Beuningen, Amsterdam From whom purchased by Pieter de la Court van der Voort (1664-1739), Amsterdam, before 1731, for 120 Florins (“door myn vaader gekofft van Jan van Beuningen tot Amsterdam”) In Pieter de la Court van der Voort’s inventory of 1731i His son Allard de la Court van der Voort, and in his inventories of 1739ii and 1749iii His widow, Catherine de la Court van de Voort-Backer Her deceased sale, Leiden, Sam. and Joh. Luchtmans, 8 September 1766, lot 23, for 470 Florins to De Winter Gottfried Winkler, Leipzig, by 1768 Probably anonymous sale, “Twee voornamen Liefhebbers” (two distinguished amateurs), Leiden, Delfos, 26 August 1788, lot 85, (as on copper), sold for f. 65.5 to Van de Vinne M. Duval, St. Petersburg (?) and Geneva, by 1812 His sale, London, Phillips, 12 May 1846, lot 42 (as a self-portrait of the artist), sold for £525 Anonymous sale, London, Christie’s, 21 February 1903, lot 80, (as a self-portrait of the artist) Max and Fanny Steinthal, Charlottenburg, Berlin, by 1909, probably acquired in 1903 Thence by descent to the previous owner, Private Collection Belgium, 2012 Exhibited: Berlin, Köningliche Kunstakademie, Illustrierter Katalog der Ausstellung von Bildnissen des fünfzehnten bis achtzehnten Jahrhunderts aus dem Privatbesitz der Mitglieder des Vereins, 31 March – 30 April 1909, cat. -
Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, Through January 19, 2014
Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, through January 19, 2014 The Frick Collection, New York PRESS IMAGE LIST Digital images are available for publicity purposes; please contact the Press Office at 212.547.6844 or [email protected]. 1. Frans Hals (1581/1585–1666) Portrait of Jacob Olycan (1596–1638), 1625 Oil on canvas 124.8 x 97.5 cm Mauritshuis, The Hague 2. Frans Hals (1581/1585–1666) Portrait of Aletta Hanemans (1606–1653), 1625 Oil on canvas 123.8 x 98.3 cm Mauritshuis, The Hague 3. Rembrandt van Rijn (1606–1669) Simeon’s Song of Praise, 1631 Oil on panel (rounded at the upper corners) 60.9 x 47.9 cm Mauritshuis, The Hague 4. Pieter Claesz Vanitas Still Life, 1630 Oil on panel 39.5 x 56 cm Mauritshuis, The Hague 5. Rembrandt van Rijn (1606–1669) “Tronie” of a Man with a Feathered Beret, c. 1635 Oil on panel 62.5 x 47 cm Mauritshuis, The Hague 6. Rembrandt van Rijn (1606–1669) Susanna, 1636 Oil on panel 47.4 x 38.6 cm Mauritshuis, The Hague 7. Nicolaes Maes The Old Lacemaker, c. 1655 Oil on panel 37.5 x 35 cm Mauritshuis, The Hague 8. Carel Fabritius (1622–1654) The Goldfinch, 1654 Oil on panel 33.5 x 22.8 cm Mauritshuis, The Hague 9. Gerard ter Borch (1617–1681) Woman Writing a Letter, c. 1655 Oil on panel 39 x 29.5 cm Mauritshuis, The Hague 10. Jan Steen (1626–1679) Girl Eating Oysters, c. -
Rembrandt's Mother
Rembrandt’s Mother ca. 1628 Studio of Rembrandt van Rijn oil on panel 35.5 x 29.1 cm JL-106 How To Cite Lloyd DeWitt, "Rembrandt’s Mother", (JL-106), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017 http://www.theleidencollection.com/archive/ © 2017 Leiden Gallery Rembrandt’s Mother Page 2 of 8 This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. The 1679 inventory of the estate of Clement de Jonghe (1624/25–77), an Amsterdam print dealer who had known and sat for Rembrandt van Rijn (1606–69), identifies, for the first time, the sitter in one of the master’s prints as “Rembrandts moeder” (Rembrandt’s mother).[1] The exact etching referred to in this inventory is not known, but it was undoubtedly one of a number of images of an old woman that Rembrandt made in the late 1620s and early 1630s (fig 1). The identification of this sitter as Rembrandt’s mother is probably correct given the number of times that Fig 1. Rembrandt van Rijn, [2] Rembrandt’s Mother, 1628, Rembrandt depicted her. She also served as a model for other Leiden etching, 64 x 64 mm, British artists, including Jan Lievens (1607–74)[3] and apprentices in Rembrandt’s Museum, London, F,6.122, 1843,0607.219, © Trustees of studio, among them Gerrit Dou (1613–75),Isaac de Jouderville (ca. -
Hirschfelder, Dagmar: Tronie Und Porträt in Der Niederländischen Malerei Des 17
Hirschfelder, Dagmar: Tronie und Porträt in der niederländischen Malerei des 17. Jahrhunderts, Berlin: Gebr. Mann Verlag 2008 ISBN-10: 3-7861-2567-8, 552 S., ¤ 98 Reviewed by: Lyckle de Vries, Groningen Some critics use the word 'tronie' as the name of a genre comparable to that of landscape or por- trait but this a recent development, not justified by the way in which seventeenth-century sources apply the word. Hirschfelder rightly concludes that we don’t have a useable definition for this class of paintings yet, and she tries to find it by studying the similarities and differences between tronies and related groups of paintings. Every single aspect of this limited subject is carefully anal- ysed and this monolith of solidity and thoroughness could be considered a classic in the field of art history, if only an editor had been hired to reduce its text by 30%, reorganising it and making superfluous the many repetitions that seem to be unavoidable in the book’s present structure. This is my main objection to an otherwise admirable book. The author concludes that the makers of 'tronies' aimed for the depiction of highly interesting types of figures with characteristic physiognomies, and at the same time tried to demonstrate their virtuosity in all aspects of their craft. She states that the 'tronie' originated in Leiden and Haarlem in the third decade of the seventeenth century, where Jan Lievens, Rembrandt and Frans Hals were its inventors. This choice implies a definition: a painting is a 'tronie' when it has the characteristics these three artists gave to their 'tronies'. -
Self-Portrait with Magic Scene Ca
Self-Portrait with Magic Scene ca. 1635–37 oil on canvas Pieter van Laer 80 x 114.9 cm (Haarlem 1599 – 1642 Italy?) signed on the music sheet, lower left center: “P.V. Laer” PvL-100 © 2021 The Leiden Collection Self-Portrait with Magic Scene Page 2 of 15 How to cite Liedtke, Walter A. and Arthur K. Wheelock Jr. “Self-Portrait with Magic Scene” (2017). Revised by Alexa J. McCarthy (2019). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/self-portrait-with-magic-scene/ (accessed September 26, 2021). A PDF of every version of this entry 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) Self-Portrait with Magic Scene Page 3 of 15 In one of the most remarkable self-portraits ever created, Pieter van Laer Comparative Figures reacts with horror to the frightening claws of the devil that have suddenly come to claim him. Dressed in the black cloak and cap of a magician, the artist, with bulging eyes and open mouth, has witnessed this apparition while standing behind a table filled with books, some with alchemical notations, a variety of vessels, a snuffed-out candle, and a skull resting on hot coals. To emphasize the personal character of this dramatic image, Van Laer prominently signed this work on the musical score lying in the foreground, its lyrics warning that “the devil doesn’t jest.” Clearly, in his conjuring up a world of occult forces, the magician has unleashed realms far beyond his control, and he is about to suffer the consequences of his audacity. -
Self-Portraiture 1400-1700
9 Self-Portraiture 1400–1700 H. Perry Chapman In his biography of Albrecht Dürer, published in Het schilder-boeck (The Painter Book, 1604), Karel van Mander describes holding in his hands Dürer’s Self- Portrait of 1500 (fig. 9.1).1 Van Mander, the Dutch painter-biographer who wrote the lives of the Netherlandish and German painters (see chapter 24), was on his way home from Italy in 1577. He had stopped in Nuremberg, where he saw Dürer’s Self-Portrait in the town hall. Van Mander’s account conveys Dürer’s fame, as both the greatest German artist of the Renaissance and a maker of self- portraits. It tells us that self-portraits were collected and displayed, in this case by the city of Nuremberg. Above all, Van Mander’s remarks demonstrate that, by 1600, self-portrait was a concept. Though there was as yet no term for self- portrait (autoritratto dates to the eighteenth century, Selbstbildniss and “self-portrait” to the nineteenth), a portrait of an artist made by that artist was regarded as a distinctive pictorial type. The self-portrait had acquired a mystique, because the artist had come to be regarded as a special person with a special gift. The topos “every painter paints himself” conveyed the idea that a painter invariably put something of him/herself into his/her art. More than any other kind of artistic creation, the self-portrait was regarded as a manifestation of the artist’s ineffable presence in the work. Today we tend to think of self-portrayal as a private process and of the self- portrait as the product of introspection. -
Docenten-Instructie-Funny-Faces-V3
FUNNY FACES TEACHING MANUAL: ETCHING WORKSHOP AND TOUR OF REMBRANDT HOUSE MUSEUM FOR HIGHER GRADE PRIMARY SCHOOL PUPILS FUNNY FACES Facial expressions in Rembrandt’s self-portrait etchings CONTENTS Introduction page 3 Connecting to Core Goals page 3 Programme Summary page 4 Background Information page 5 Slide Presentation page 6 Concepts page 12 Art Assignment page 14 Museum Visit page 15 House Rules page 16 Practical Information page 17 ETCHING WORKSHOP FOR HIGHER GRADE PRIMARY SCHOOL PUPILS 2 INTRODUCTION In this workshop pupils learn about Rembrandt’s prints, especially his self-portrait etchings. They discover how Rembrandt used the reflection of his own face in a mirror to practise different facial expressions. Then the children get to make a simple print of a face with a specific expression. ETCHING WORKSHOP FOR HIGHER GRADE PRIMARY SCHOOL PUPILS 3 PROGRAMME SUMMARY 1. IN CLASS Pupils prepare for their visit to the Rembrandt House Museum under your direction at school. They each draw a picture which they get to cut into a plastic plate and print in a printing press. They are also shown around Rembrandt’s former house in a guided tour. Content – Subjects A school lesson is designed to handle key themes - Rembrandt, his work, his portraits and his self-portrait etchings - in preparation for your visit. This preparatory lesson provides pupils with the necessary information for the tour and the workshop. For the museum docents, it is important that this lesson is completed shortly before the school visit to enable pupils to get the best possible benefit from the tour and the workshop. -
Luc Tuymans on Baroque 01.06–16.09.2018
Luc Tuymans on Baroque EN 01.06–16.09.2018 Sanguine / Bloedrood 1 Luc Tuymans on Baroque 01.06–16.09.2018 2 Table of Contents 7 Introduction 9 A conversation between Luc Tuymans, Bart De Baere and Manfred Sellink on the occasion of Sanguine/Bloedrood. Luc Tuymans on Baroque 29 Artists 133 Luc Tuymans on Baroque Éric Suchère 139 Two Spectres Ken Pratt 145 On the Invisibility of Art Bart De Baere Isa Genzken, Untitled, 2006 Courtesy Galerie Buchholz, Cologne/Berlin/New York, photo © M HKA, © SABAM Belgium 20184 5 Introduction Sanguine / Luc Tuymans on Baroque 01.06– 16.09.2018 Bloedrood During the cultural city festival Antwerp Francisco de Zurbarán, Lili Dujourie, Baroque 2018. Rubens inspires, curator Marlene Dumas, Zhang Enli, Jan Fabre, Luc Tuymans juxtaposes the spirit of Lucio Fontana, Marcel Gautherot, the baroque masters with the vision of Isa Genzken, Joris Ghekiere, contemporary top artists. The exhibition Franciscus Gijsbrechts, Pierre Huyghe, Sanguine/Bloedrood aims to overwhelm Jonathan Johnson, Jacob Jordaens, the visitor by placing key works from the On Kawara, Edward Kienholz, Baroque in dialogue with the work of Jukka Korkeila, Dominik Lejman, classical contemporary masters, and new Takashi Murakami, Nadia Naveau, works by contemporary stars. Sanguine/ Bruce Nauman, Johann Georg Pinsel, Bloedrood is a visually opulent and chal- Sigmar Polke, Tobias Rehberger, lenging exhibition that brings old masters Peter Paul Rubens, Yutaka Sone, into the experimental spaces of contempo- Henri Storck, Piotr Tolmachov, rary art. Pascale Marthine Tayou, Javier Téllez, David Gheron Tretiakoff, Dennis Tyfus, The term ‘baroque’ continues to evoke Anthony van Dyck, Jan Van Imschoot, Jan some of its original negative connotations Vercruysse and Jack Whitten. -
Michael Sweerts (1618-1664) and the Academic Tradition
ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy. -
Discovering the Arts Rembrandt: His Life and Times Teacher’S Guide 2
Discovering the Arts Rembrandt: His Life and Times Teacher’s Guide Grade Level: 9–12 Curriculum Focus: Fine Arts Lesson Duration: Two class periods Program Description Rembrandt was a master at manipulating light and shade. Explore the paintings of this 17th-century artist who created intense characters and scenes. Onscreen Questions • How did Rembrandt use light to express human emotions in his paintings? • What types of artwork did Rembrandt create? • What does The Night Watch reveal about the history of the Netherlands? • How did Rembrandt create “the perfect illusion”? Lesson Plan Student Objectives • Review important facts about the famous 17th-century Dutch painter Rembrandt. • Compare two of Rembrandt’s self-portraits and discuss the style of each. • Explore other Rembrandt paintings and curate an imaginary exhibit of his work. • Create an exhibit guide describing the overall theme of the exhibit and the works within it. Materials • Discovering the Arts: Rembrandt: His Life and Times video • Computer with Internet access • Color printer • High-quality photocopies of two Rembrandt self-portraits, one etching and one painting Discovering the Arts Rembrandt: His Life and Times Teacher’s Guide 2 Procedures 1. Review basic facts about Rembrandt van Rijn. Where and when did he live? What types of artwork did he create? What were some of the subjects he painted? Why was his work so famous? How did his work represent the history of the Netherlands? See the following Web sites for background information on the artist: • National Gallery of Art: Rembrandt van Rijn http://www.nga.gov/cgi-bin/pbio?26200 • The Getty: Rembrandt Harmensz van Rijn http://www.getty.edu/art/gettyguide/artMakerDetails?maker=473 2. -
Vermeer 'S Painting in the Context of the Dutch Golden Age of Painting
27.11.2018 Vermeer's Painting in the Context of the Dutch Golden Age of Painting (part 2) Custom Search home vermeer catalogue glossary painting technique vermeer events vermeer bookshop Vermeer 's Painting in the Context of the Dutch VERMEER: CONTEXT Golden Age of Painting (part three) cultural backdrop: classicism & the hierarchy of subject matter subject matter in dutch painting, Vermeer 's Subject Matter artistic training & technique vermeer 's subject matter Vermeer 's choice of subject matter was of capital importance to his concept of art. No matter how Vermeer news masterfully his works are depicted, it would be incorrect to assume that he painted for the sake of painting vermeer 's subject matter: women and that subject matter was secondary to aesthetics. His range of subjects, although not large, provided a Facebook reservoir of images that permitted him to reach deep and experiment universal emotions. His paintings are Vermeer FAQ arresting for their lack of clear-cut narrative, for their externalization of seemingly inconsequential moments.1 Art bookshops Not a single still life, nude, oil study, finished or preparatory drawing, copy,2 etching or engraving by Vermeer slideshow Vermeer has survived. All 36 (?) surviving paintings must be considered finished works, executed according to the high standards set by the artist, except perhaps, for the four heads (tronien) whose degree of finish, Digital images although aesthetically effective, is more abbreviated in respects to those of the interiors and landscapes. About Nor is there any evidence that Vermeer collaborated with other artists or artisans. The artist worked slowly, The Emergence of Dutch Painting producing two, three or four highly finished pieces a year.