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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. Signed: ___________________________________________________________ David M. Stone, Ph.D. Member of dissertation committee 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: ___________________________________________________________ Lauren Hackworth Petersen, Ph.D. Member of dissertation committee 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: ___________________________________________________________ Wayne Franits, Ph.D. Member of dissertation committee iii ACKNOWLEDGMENTS I thank my advisor, Professor H. Perry Chapman, for her unfailing support and enthusiasm. Her keen editorial eye and perceptive questions have improved this project and my intellectual growth immeasurably. I also thank the other members of my dissertation committee, Professor David Stone, Professor Lauren Petersen, and Professor Wayne Franits (Syracuse University). I thank Professor Franits, especially, for generously sharing his own research about Schalcken. Dominique Surh, Curator of The Leiden Collection, has been an amazing resource from my first visit to the collection up to the final draft of the dissertation. Ilona van Tuinen and Sara Smith facilitated and contributed to my research in countless ways. I have gratefully benefited from the scholarly insight and practical assistance of numerous colleagues, including Junko Aono, Christopher Atkins, Elisabeth Berry-Drago, Sara Brown Bordeaux, Quentin Buvelot, Emily Casey, Stephanie Dickey, Arthur DiFuria, Mario DiGangi, Erin Downey, Robert Fucci, E. Melanie Gifford, Yannis Hadjinicolaou, Isabelle Havet, Guido Jansen, Jessica Korschanowski, Ellis van der Krogt-Dullaart, Rozemarijn Landsman, Craig Lee, Isabel Oleas, Jenny Reynaerts, Juliane Rückert, Jettie Rozemond, Laura Sanders, Eddy Schavemaker, Hannah Segrave, Anja Sevcik, Liz Simmons, Femke Speelberg, Roos Staats, Amy Torbert, Adriaan Waiboer, Lindsey Jo Wainwright, Hettie Ward, Arthur Wheelock, Marjorie Wieseman, Joanna Woodall, and many others. Finally, I thank my family. My mother, Sherri Lynn Cook, has read this dissertation as many times as I have and served as a constant source of encouragement. Thanks to my father, Rick Clark Cook, and to my sister, Heather Louise Cook, for their love and support. My nephew, Logan Arthur, was born while I was writing this dissertation and has provided much needed comic relief. My grandparents, Jerry and Patricia, and Frank Brutt, have all helped bring this project to completion. Most profound thanks to Andrew Repasky McElhinney, without whom this manuscript would be a mere shadow of what it has become. I cannot imagine the past eight years without his advice, support, and love. This dissertation is dedicated to Thomas S. Kaplan and Daphne Recanati Kaplan, liefhebbers in the truest sense of the word. iv TABLE OF CONTENTS LIST OF TABLES ......................................................................................................... ix LIST OF FIGURES ........................................................................................................ x ABSTRACT ................................................................................................................ xxv Chapter 1 INTRODUCTION: GODEFRIDUS SCHALCKEN – DESIRE AND INTIMATE DISPLAY ........ 1 1.1 Schalcken: Seductive Master of Candlelight ............................................. 1 1.2 Schalcken’s Historical Situation: The Competitive Art Market of the Late Seventeenth Century Dutch Republic ........................................................ 4 1.3 Schalcken’s Art Historical Context: What Comes After the Golden Age?8 1.4 Methodology: Nocturnal Painting, Beauty, Virtuosity, Intimacy, and Desire ....................................................................................................... 12 1.5 Chapter Outline ........................................................................................ 18 1.5.1 Chapter 2. Becoming a Master of Candlelight: Schalcken’s Life, Oeuvre and Early Reception ........................................................ 18 1.5.2 Chapter 3. Schalcken’s Early Genre Paintings: Eros, Intimacy, Emotion And The Night ............................................................... 19 1.5.3 Chapter 4. Schalcken Plays Himself: Sensual Self-Portraits, Pygmalion, And The Erotic Fantasy Of The Artist’s Studio ....... 21 1.5.4 Chapter 5: Schalcken’s Late Career: Nocturnal Experience, Portraiture, Spirituality, and the Last Genre Scenes .................... 22 1.5.5 Chapter 6. Schalcken in Print: Self-Promotion, Adaptation, and the Sensuality of the Page ............................................................ 23 1.6 Schalcken’s Elegant Dark Manner ........................................................... 24 2 BECOMING A MASTER OF CANDLELIGHT: SCHALCKEN’S LIFE, OEUVRE AND EARLY RECEPTION ........................................................... 26 2.1 Becoming a Master of Candlelight .......................................................... 26 2.2 Schalcken’s Life ....................................................................................... 28 2.3 Schalcken’s Signature Candlelight: His Oeuvre, Dating Issues, and Stylistic Development .............................................................................. 37 v 2.4 Schalcken’s Early Period: The Impact of Van Hoogstraten and Dou ..... 40 2.5 Middle Period: Departure from the Fijnschilders and Increased Sensuality ................................................................................................. 48 2.6 Late Period: Larger Scale Works, More Commissions and Fewer Genre Paintings ................................................................................................... 52 2.7 Issues of Style, Fame, and Artistic Prodigality in Schalcken’s Early Biographies .............................................................................................. 56 2.8 Arnold Houbraken on Schalcken’s “Charming” and “Airy” Style .......... 59 2.9 Jacob Campo Weyerman on Schalcken as Rogue and Minor Painter ..... 67 2.10 George Vertue on Schalcken’s Method of Painting Candlelight ............. 72 2.11 The Early Emergence of Schalcken’s Artistic Persona ........................... 74 3 SCHALCKEN’S EARLY GENRE PAINTINGS: EROS, INTIMACY, EMOTION AND THE NIGHT ........................................................................ 76 3.1 Drawing Beauty from the Shadows ......................................................... 76 3.2 Genre Painting and Artistic Synergy in Dordrecht, Leiden, and Beyond 78 3.3 Voyeurism and Seduction in Seventeenth-Century Painting ................... 80 3.4 Schalcken, the Fijnschilders and Paintings as Objects of Desire ............ 82 3.5 Schalcken’s Move from the Window Niche into the Nocturnal Interior . 90 3.6 The Poetic and Erotic Function of Night in Schalcken’s Paintings of Lovers .................................................................................................... 101 3.7 Schalcken, Van Hoogstraten, Illusionism, and the Voyeuristic Desire for Paintings ................................................................................................. 107 3.8 Re-envisioning the Brothel Scene: Emotion and Intimacy .................... 114 3.9 Theories of Painting,
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