The Connections of the Thematical and Interpretational Question
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Print He Made After the Latter Work, All Date to 1638
Fighting Card Players and Death ca. 1638 oil on canvas Jan Lievens 67 x 84.9 cm (Leiden 1607 – 1674 Amsterdam) Signed and dated lower right: J. Lievens JL-107 © 2021 The Leiden Collection Fighting Card Players and Death Page 2 of 7 How to cite Wheelock, Arthur K., Jr. “Fighting Card Players and Death” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/fighting-card-players-and-death/ (accessed October 02, 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) Fighting Card Players and Death Page 3 of 7 In 1635 Jan Lievens moved from London to Antwerp, perhaps expecting that Comparative Figures the arrival of the new governor-general of the Southern Netherlands, the Cardinal-Infante Ferdinand, would usher in a period of peace and prosperity beneficial to the arts.[1] Lievens soon joined the local painters’ guild and settled into a community of artists who specialized in low-life genre scenes, landscapes, and still lifes, among them Adriaen Brouwer (1605/6–38), Jan Davide de Heem (1606–83/84), David Teniers the Younger (1610–90), and Jan Cossiers (1600–71). In 1635, Brouwer depicted these artists in a tavern scene, Smokers, in the Metropolitan Museum of Art (fig 1).[2] The most inspirational of them for Lievens was Brouwer, who apparently encouraged Lievens to depict, once again, rough peasant types comparable to those he Fig 1. -
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. -
Title Connection Between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Author(S) Fukaya
Connection between Rough Brushstrokes and Vulgar Subjects Title in Seventeenth-Century Netherlandish Paintings Author(s) Fukaya, Michiko Citation Kyoto Studies in Art History (2017), 2: 55-71 Issue Date 2017-04 URL https://doi.org/10.14989/229460 © Graduate School of Letters, Kyoto University and the Right authors Type Departmental Bulletin Paper Textversion publisher Kyoto University 55 Connection between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Michiko Fukaya 1. Introduction Karel van Mander stated in his Schilder-boeck that painters at the time were accustomed to applying their paint more thickly than before; hence, their paintings were made seemingly of stone relief.1 At the same time, he used the terms “uneven and rough (oneffen en rouw)” and “beautifully, neat and clear (schoon, net en blijde)” as two contrasting manners in the application of paint.2 His comment is followed by a well-known passage referring to Titian’s earlier style, executed “with incredible neatness (met onghelooflijcke netticheyt)” and his later one, “with stains and rough strokes (met vlecken en rouw’ streken)”. In 1604, when van Mander was writing the above passage, it was uncommon among Netherlandish painters to paint so thickly that their paintings might be compared to a relief. Nevertheless, in Lives of the Northern Painters, van Mander mentioned two painters who applied their paint so thick that the canvas could not be rolled or had to be scraped off,3 although such rough manner was more tightly connected to the Italian style. In any event, the dichotomy of the neatness and the roughness of application of the paint was introduced into Netherlandish art theory at the time. -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
ADRIAEN VAN OSTADE (1610 – Haarlem – 1685)
VP4338 ADRIAEN VAN OSTADE (1610 – Haarlem – 1685) A Tavern Interior with Peasants smoking and drinking Signed on the mantelpiece: A. v. Ostade On panel - 10 ⅝ x 12 ⅞ ins. (27 x 32.8 cm) PROVENANCE Sale of J. -B. van Lancker, Antwerp, 1835, lot 76 (2050 francs) MM. Tardieu fils, Paris, 1840 Sale, Héris (Biré Collection), Paris, 25 March 1841, lot 32 (4900 francs) M. Stayaert van den Busche, Brussels, 1856 Vicomte de Buisseret, Brussels Sale, Galerie S. Luc, Brussels, 29 April 1891, lot 83 Martin Colnaghi, London, 1895 Charles Sedelmeyer Gallery, Paris, 1897 Galerie Weber, Hamburg, 1912 Beaufort Sale, American Art Association, New York, 21 October 1937, lot 16 Private collection, Germany, until 2009 LITERATURE John Smith, A Catalogue Raisonné of the Works of the most eminent Dutch, Flemish and French Painters, London 1829-42, suppl., p. 104, no. 86 Charles Blanc, Le Trésor de la Curiosité, 1857-58, vol. II, p. 444 Sedelmeyer Gallery, The Four Hundred, Paris, 1897, no. 27 C. Hofstede de Groot, A Catalogue Raisonné…, 1908, vol. III, no. 277 EXHIBITED Royal Academy, London, 1895, no. 84 NARRATIVE This little tavern scene is one of Ostade’s many interpretations of a familiar theme. Five peasants are pictured in the dusky interior. In the foreground, is a seated man, wearing a conical hat, who lights his pipe from a pot of embers. His companion, dressed in a reddish jacket, stands before him, leaning his left arm on the back of a chair and holding a jug in his right hand. A pipe and a wrap of paper containing tobacco lie on the seat of the chair. -
Jordaens's Reading
Originalveröffentlichung in: Lange, Justus ; Münch, Birgit Ulrike (Hrsgg.): Reframing Jordaens : Pictor ductus - Techniken - Werkstattpraxis, Petersberg 2018, S. 92-107 JORDAENS’S READING Nils Biittner When Jacob Jordaens’s Bagpipe Player was fi His art is strong, honest and wise, especially nally acquired by the Rubens House in 2009, that inspired by the noble art of poetry?’3 the fact was widely acknowledged by the press (fig. I).1 The press echo revived the established The portrait accompanying the text praises image of the painter who was usually charac him as an ingenious painter of history paint terized as rustic and sturdy in contrast to his ings. Likewise, his German contemporary famous contemporary Peter Paul Rubens. Al Joachim von Sandrart, who seems to have been most all newspapers emphasised the cliched aware of de Bie’s comments, praised the artist’s contrast of a peasantlike Jordaens with the aris intellectual talents as “the highest gift of a bril tocratic and well educated Rubens. That both liant mind.”4 Yet how well-educated was Jor art historians and art critics declared the image daens really? not to be a self-portrait, although the Bagpipe Unfortunately, his formal education remains Player of course depicts Jordaens, remained a mystery. So far no documents could be found unheeded. And that Jordaens did not usually that bear witness to Jordaens’s educational vi depict himself as a rosy cheeked bagpipe play ta - a fact that was lately regretted by Irene er, but rather as a connoisseur and collector of Schaudies in the catalogue of the recent exhi antiques, was not taken into account.2 Never bition Jordaens and the Antique.5 The first theless, Jordaens did not only represent himself known biographical milestone in Jordaens’s as an art lover, he was acknowledged as such life is the date of his birth on 19 May 1593, not by his contemporaries. -
Catalogue Iii Katalog
ONE OF THE LEADING AUCTION HOUSES IN EUROPE KATALOG III GEMÄLDE ALTE MEISTER TEIL 2 CATALOGUE III OLD MASTER PAINTINGS PART 2 AUKTIONEN / AUCTIONS: KATALOG DONNERSTAG, 24. & FREITAG, 25. SEPTEMBER 2020 CATALOGUE Besichtigung: Samstag, 19. September – Mittwoch, 23. September THURSDAY, 24 & FRIDAY, 25 SEPTEMBER 2020 III DONNERSTAG Exhibition: Saturday, 19 September – Wednesday, 23 September THURSDAY OLD MASTER PAINTINGS P A R T II A124_Zwischentitel.indd 4-5 27.08.20 17:33 OLD MASTER PAINTINGS P A R T II A124_Zwischentitel.indd 4-5 27.08.20 17:33 223 MEISTER UM 1320/ 1340, SCHULE DES VITALE DA BOLOGNA 1289/ 1309 – 1359/ 60 MADONNA MIT DEM SEGNENDEN JESUSKIND Öl/ Tempera und Goldgrund auf Holz. 37,5 x 28,5 cm. Ungerahmt. Beigegeben ein Gutachten von Dr. Eric Vandamme, Nimbenscheiben punziert: Bei Maria in Form von Ro- mitbegründete, bestätigt sich durch den Vergleich mit wissenschaftlicher Direktor am Koninklijk Museum setten, beim Kind mit dreifacher Aussparung, womit dessen „Madonna dei Battuti“ (um 1340), die sich in voor Schone Kunsten Antwerpen, vom 01.01.2003, mit die Andeutung des Kreuzes gegeben ist. den Vatikanischen Museen befindet. Die figürliche Ergänzungschreiben vom 19.01.2003. Für die Autorschaft des Bildes wurde aufgrund der Sti- Darstellung ist mit dem vorliegenden Bild nahezu listik zunächst an einen Sieneser Maler gedacht. Hier identisch, allerdings mit einigen kleinen Unterschie- Das kleine Tafelbild zeigt Maria im Halbbildnis, in beiden lagen die Vorbilder in der byzantinischen Maltradition. den, wie das im römischen Bild fehlende Rot des Klei- Händen hält sie das Jesuskind, das die rechte Hand Die leicht grünlich wirkenden Schatten im Inkarnat ist des, während dort sich seitlich zusätzlich auch noch zum Segensgestus erhoben hält, während die Linke an eine von da an übliche Stilistik. -
FRANS HALS (Antwerp 1582/3 – 1666 Haarlem)
CS0309 FRANS HALS (Antwerp 1582/3 – 1666 Haarlem) A Portrait of a Man holding a Pair of Gloves Inscribed: ÆTAT. SVÆ 37-/ANo 1637- On canvas, 36 ½ x 26 ½ ins. (93 x 67 cm) and A Portrait of a Woman holding a Pair of Gloves Inscribed: ÆTAT.SVÆ 36./ANo 1637. On canvas, 36 ½ x 26 ½ ins. (93 x 67 cm) PROVENANCE Comte de Thiènnes, Kasteel Rumbeke, Belgium, acquired in the 19th century His granddaughter, Comtesse de Limburg-Stirum, Warmond, The Netherlands M. E. van Gelder, Château Zeecrabbe, Uccle, Belgium, by 1911 Sir William van Horne, Montreal, by 1912 Miss Adaline van Horne, by 1936 Gifted to Mrs. William van Horne, 14 June 1944i Wildenstein and Co., New York From whom acquired by Ambassador J. William Middendorf II, March 1973 Anonymous sale, London, Sotheby’s, 8 December 1986, lots 52 and 53 (as property of an American Collector) With Robert Noortman Gallery, London and Maastricht From whom acquired by a Belgian private collector, in 1996 Anon. sale, Sothebys, New York, 29 January 2009, lots 45 & 46 (unsold) Private Collection, Belgium, 2016 EXHIBITED Montreal, Art Association of Montreal, Inaugural Loan Exhibition of Paintings, December 1912, no. 66 Montreal, Art Association of Montreal, A Selection from the Collection of Paintings of the Late Sir William van Horne, K.C.M.G., 16 October – 5 November 1933, no. 30 Montreal, Art Association of Montreal, Loan Exhibition of Great Paintings: Five Centuries of Dutch Art, 9 March to 9 April, 1944, no. 34 On loan to and exhibited at the Rijksmuseum, Amsterdam, 1973-79 On loan to and exhibited at the Fogg Art Museum, Harvard University, Cambridge, Mass., 1979-86 LITERATURE C. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:_May 1, 2006_______ I, __Jennifer Eckman__________________________________________, hereby submit this work as part of the requirements for the degree of: Master in Arts in: Art History It is entitled: “Forbidden Indulgences: A Study of Adriaen Brouwer’s Peasant Scenes, 1631-1638” This work and its defense approved by: Chair: Kristi Nelson, PhD______________ Diane Mankin, PhD_____________ Mikiko Hirayama, PhD__________ ______________________________ __________________________ Forbidden Indulgences: A Study of Adriaen Brouwer's Peasant Scenes, 1631-1638 A thesis submitted to the Art History Faculty of the School of Art/ College of Design, Architecture, Art and Planning University of Cincinnati in partial fulfillment of the requirements for the degree of Masters of Arts in Art History Jennifer Louise Eckman 2006 Thesis Committee Chair: Kristi Nelson, Ph. D. Reader: Diane Mankin, Ph. D. Reader: Mikiko Hirayama, Ph. D. Abstract During the seventeenth century, the Flemish painter Adriaen Brouwer (1605/6-1638) specialized in low-life images of peasants indulging themselves in forbidden activities such as drinking, smoking, and fighting. A unique element of his work is the expressive body gestures and grotesque facial expressions of the figures. Chapter one addresses several questions such as why Brouwer chose this type of genre and whether or not there is symbolic and moralizing meaning incorporated into his work. Chapter two, three, and four are separated by each indulgence – drinking, smoking, and fighting. In these three chapters, I conduct a formal analysis, with a small portion of iconographical interpretation, of a selection of his peasant scenes within the socio-historical context of the Low Countries during the last period of his career, 1631-1638. -
The Bold and the Beautiful
THE BOLD AND IN FLEMISH PORTRAITS THE BEAUTIFUL This is the booklet accompanying THE BOLD AND THE BEAUTIFUL. In Flemish Portraits exhibition project. The exhibition takes place in four locations in the Antwerp city centre, at short, walkable distances from one another: KEIZERSKAPEL MUSEUM SNIJDERS&ROCKOX HOUSE SAINT CHARLES BORROMEO CHURCH VLEESHUIS MUSEUM Would you like to discover some more historical locations? An optional walking tour leads you along a number of vestiges of the world of the portrayed and brings you back to the starting point of the exhibition, the Keizerstraat. We hope you will enjoy it! Tickets & info: www.blinddate.vlaanderen © The Phoebus Foundation Chancellery vzw, Antwerp, 2020 D/2020/14.672/2 All rights reserved. No part of this publication may be reproduced, stored in an information storage and retrieval system or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without prior permission in writing from the publisher. If you have comments or questions we’d like to hear from you. Contact us at: [email protected] THE BOLD AND THE BEAUTIFUL IN FLEMISH PORTRAITS Make-up: Gina Van den Bergh THIS EXHIBITION WAS CREATED BY The Chancellery of The Phoebus Foundation Editor: Guido Verelst Museum Snijders&Rockox House Grader: Kene Illegems — Sound mix: Yves De Mey A Deep Focus production WITH THE SUPPORT OF KBC Group NV Installation: Create Katoen Natie Projections: Visual Creations Indaver — Jan De Nul Group NV MANNEQUINS Isabelle De Borchgrave and Keizerskapel — Saint Charles Borromeo Church REDACTION AND TRANSLATIONS Vleeshuis Museum Luc Philippe & Patrick De Rynck (NL) Saint Paul’s Church Anne Baudouin & Ted Alkins (EN) Royal Academy of Fine Arts Antwerp — University of Antwerp TEXTS Saint James’ Church Hannah Thijs & Buvetex Katrijn Van Bragt — Dr.