DOCSLIB.ORG

PDF Van Tekst

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF Van Tekst Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres Carel Vosmaer bron Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres. Martinus Nijhoff, Den Haag 1868 Zie voor verantwoording: https://www.dbnl.org/tekst/vosm001remb03_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. t.o. III LA MAISON DE REMBRANDT 1640 À 1656. Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres V Avant-propos. Il y a cinq années je publiai un travail sur REMBRANDT HARMENS VAN RIJN, contenant ses précurseurs, sa naissance, son apprentissage. Le présent volume embrasse sa vie et ses oeuvres. Si le précepte d'Horace - nonum prematur in annum - offre une garantie suffisante pour qu'un livre soit complet et parachevé, je pourrais amplement compter sur l'approbation de ce fin connaisseur. Cependant je ne sais que trop combien mon ouvrage est incomplet. Des collections d'art en Angleterre et en Russie, par exemple, je ne connais les peintures de Rembrandt qu'en tant qu'elles sont reproduites par les estampes. Mais je me suis dit, qu'il arrive un moment où il convient de faire une fin. J'ai pensé qu'il s'agissait bien plus de voir juste que de tout voir, ce qui du reste n'est pas possible; que l'étude de plusieurs centaines de tableaux et de dessins, des 360 eaux-fortes du Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres VI maître, d'une quantité d'estampes d'après ses oeuvres, devrait mettre à même de le connaître, de démontrer la marche de son talent, et qu'il importait avant tout de pénétrer aussi loin que possible dans l'esprit, dans l'âme de ce génie gigantesque. En écrivant ce livre dans une langue qui n'est pas la mienne, j'ai cru souvent entendre la remarque d'un Grimbert hollandais, disant à Renart: ......Oncle, que francisez-vous? Se vos le volez, parlez moi Hollandais, que je le comprenne1. Lors répondis en soupirant, Sire Grimbert, je n'en puis mès, Car je l'amasse miex assez, mais je ne saurais renfermer dans les limites restreintes de notre langue, et du public peu nombreux qui chez nous prend connaissance d'une étude sur l'art, des pages inspirées par le désir de porter aussi loin que possible la gloire du grand artiste. Septembre 1868. C. VOSMAER. 1 v. 1461. Grimbert sprac: Oom, walschedi? Oft ghi iet wilt, spreect jeghen mi In dietsche, dat ict mach verstaen. Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres 1 I. Les Débuts. 1627-1630. Dans la première partie de cet ouvrage nous avons quitté Rembrandt à l'entrée de sa carrière artistique. Le rideau, que nous avions alors à peine soulevé, va s'écarter maintenant d'avantage. La période qu'on pourrait nommer période leidoise du peintre, loin de n'être qu'un temps d'essais et d'études, s'est trouvée produire plusieurs oeuvres remarquables. Reprenant le fil aussi loin que possible, nous rendrons encore une fois visite à l'atelier du jeune van Rijn dans la demeure paternelle, au Weddesteeg à Leiden. La première oeuvre à date certaine, est un petit tableau en hauteur, signé RH 16271. Le peintre y a représenté l'apôtre Paul dans la prison, assis sur une pierre, tourné vers la gauche, la main gauche tenant un livre ouvert posé sur les genoux, le bras droit accoudé sur le livre. Le pied droit est posé sur la sandale. L'apôtre a une longue barbe blanche et des cheveux blancs ébouriffés. Les yeux pensifs ont beaucoup d'expression. Longue robe grise d'une étoffe épaisse; à droite un lourd manteau verdâtre; à gauche, sur la pierre, des livres, 1 De la galerie Schönborn, il a passé en 1867 dans celle de Stuttgart. La date 1627 se trouvait dans le Catalogue de la galerie Schönborn de 1857. Elle a été vérifiée par M. Bürger dans son Cat. de cette galérie. Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres 2 une valise et une longue épée. Le jour vient de ce côté, par une fenêtre, et de vifs rayons frappent la muraille derrière la tête de l'apôtre. Le jeune peintre y montre déjà l'esprit humain dans lequel il concevra les écrits bibliques. Pour le costume, il se conforme à celui adopté par Lastman, Bramer, Uyttenbroeck, Jan Pinas.1 Le coloriste aussi s'y montre pleinement, avec sa figure ressortant en vigueur sur la muraille vivement éclairée. Ce petit panneau, est d'un intérêt extrême. L'on s'est étonné jusqu'ici de la beauté du Siméon, oeuvre d'un jeune homme de vingt-quatre ans. Eh bien! Ce jeune homme avait déjà signé quatre ans avant, cette oeuvre si remarquable, le St. Paul. Peut-être elle servira à constater d'autres peintures qui feront encore mieux connaître ses débuts et qui combleront la lacune de 1627 à 30. L'année suivante, en 1628, viennent les deux belles eauxfortes représentant la mère de l'artiste. On peut y ajouter la petite tête de femme, qui me paraît un essai pour ces portraits. En 1629, l'eau-forte, portrait de Rembrandt. Enfin les oeuvres de 1630. Le philosophe dans une grotte, indiqué sommairement dans la 1e partie, se rattache au Saint Paul et est encore un vrai spécimen de la première manière. C'est un philosophe en 1 Peut-être une oeuvre de ce dernier que j'ai décrite (Vol. I. p. 76) d'après la gravure de Nicola Lastman, Saint Pierre délivré de prison, ne fut pas sans influence sur cette peinture de van Rijn. Les accessoires empruntés à la vie ordinaire - des cartes à jouer, un vase, une natte enroulée, pareille à celle du Jérôme de Rembrandt de 1631, l'ange avec ses ailes courtes et son costume de jeune prêtre (une chasuble par dessus sa tunique), la manière dont l'effet du jour est disposé, - tout cela rappelle fortement les premières pages bibliques de Rembrandt. J'ai dit an 1r vol. qu'il n'est pas prouvé que Pinas ait été un des maîtres de Rembrandt, et je le pense encore. Cependant j'avoue que je leur trouve plus d'analogie maintenant que je ne pensais alors. Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres 3 contemplation, Loth, ou une espèce d'allégorie en forme de Vanitas. On trouve ce tableau mentionné sous divers noms: philosophe, Loth et même Anchise. Dans une grotte, dont l'ouverture laisse voir une ville en flammes, l'homme est assis près d'une colonne, accoudé sur une saillie supportant une jatte et d'autres objets. Le tableau, connu par l'estampe de Schmidt, qui lui assigne la date 1630, est à retrouver. Le Vieillard, à Cassel, peinture finie et minutieuse, a été amplement décrit.1 Trois bustes de vieillard, également à Cassel, sont probablement de la même époque. L'un paraît être le même modèle que le Vieillard de 1630. Un autre beau portrait de vieillard, la tête légèrement inclinée, est touché avec plus de largeur que les autres. Tous ces personnages ne semblent pas appartenir à une classe de gens pouvant se permettre le luxe d'un portrait commandé. Il faut observer avec quelle exactitude, avec quel soin ces simples études sont achevées. Ce sont de vraies peintures; remarque qu'on aura plus d'une fois l'occasion de renouveler. Un autre petit buste de vieillard, appelé Philon le Juif, porte aussi la date 1630. Van Vliet l'a gravé en 16332. Le musée de la Haye possède un petit buste de jeune homme vu de face et qui, bien que ce soit une peinture plus franche, me semble appartenir aux premières années, sinon à 1630. La tête ressemble à Rembrandt par les traits; mais les cheveux sont noirs. Il a surtout une forte ressemblance avec l'eau-forte 214, datée 1630, et le no. 204, sauf le froncement des sourcils et le pincement de bouche 1 Ie partie, pag. 138. 2 M. Bürger possède une peinture pareille, qu'il attribue à van Vliet. Le personnage y porte aur son bonnet une bande de papier avec le mot ցιλῶς, qui a suggéré le nom de Philon. Carel Vosmaer, Rembrandt Harmens van Rijn. Deel 2. Sa vie et ses oeuvres 4 qu'on remarque dans l'eau-forte 214. Sur un fond olivâtre se détache le buste, habillé de noir avec un hausse-col de la même couleur, nuancée de vert. La tête est très bien peinte en pleine pâte; les ombres couvrent le visage â l'exception d'un peu de lumière sur le front et sur la joue droite. Elles sont noires dans les sourcils, d'un vert olive sur la joue ombrée, d'où ressort pourtant un peu la couleur de la chair. La joue et le front sont couverts du côté éclairé d'une pâte formant émail. De légères touches noires sur les lèvres et autour du menton indiquent un peu de poils. Au musée de Berlin j'ai retrouvé le léger croquis à la plume, qui a servi d'esquisse pour la délicate eau-forte Siméon dans le temple. La petite circoncision, gravée de la même pointe fine que cette pièce, est probablement de la même année. Enfin parmi les dix-sept eaux-fortes datées de 1630, il faut ranger Jésus parlant aux docteurs1; ainsi que quelques études et portraits du peintre, qui doivent être rattachés à cette époque par leur faire et leur style2.
Load more

Recommended publications
  • Carel Fabritius (Middenbeemster 1622 – 1654 Delft)
    Carel Fabritius (Middenbeemster 1622 – 1654 Delft) How To Cite Bakker, Piet. "Carel Fabritius." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. 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. In studying the life and work of Carel Fabritius, one soon notices that scholarly interest in his artistry focuses on two different “periods”: a real one and an imagined one. Naturally, the most attention is given to Carel’s actual career, which began around 1641 and ended in 1654. Then there is the great speculation regarding the period that never existed, but which could have, had his life not been cut short by the devastating explosion of the powder magazine in Delft in 1654. Only thirteen paintings have been firmly attributed to him, and his limited artistic legacy is sorely lamented. Famous paintings likeThe Goldfinch[1] andThe Sentry[2] bespeak such originality and artistic quality that we can only regret all the works he never painted. Unfortunately, his untimely death has made it virtually impossible to determine whether his talent would have eventually been great enough to equal, if not surpass, that of his teacher, Rembrandt van Rijn (1606–69). Fabritius’s parents were Pieter Carelsz and Barbertje van der Maes. He was baptized in Middenbeemster, a village just north of Amsterdam, on 27 February 1622.[3] His father worked there as a sexton, a schoolteacher and, in “the spare time outside school,” also as a painter.[4] Thus Carel, like his brothers Barent (1624–73) and Johannes, must have received his first painting lessons from his father.
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • The Engagement of Carel Fabritius's Goldfinch of 1654 with the Dutch
    Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) The Engagement of Carel Fabritius’s Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange Linda Stone-Ferrier [email protected] Recommended Citation: Linda Stone-Ferrier, “The Engagement of Carel Fabritius’ Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange,” JHNA 8:1 (Winter 2016), DOI: 10.5092/jhna.2016.8.1.5 Available at http://www.jhna.org/index.php/vol-8-1-2016/325-stone-ferrier Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 THE ENGAGEMENT OF CAREL FABRITIUS’S GOLDFINCH OF 1654 WITH THE DUTCH WINDOW, A SIGNIFICANT SITE OF NEIGHBORHOOD SOCIAL EXCHANGE Linda Stone-Ferrier This article posits that Carel Fabritius’s illusionistic painting The Goldfinch, 1654, cleverly traded on the experience of a passerby standing on an actual neighborhood street before a household window. In daily discourse, the window func- tioned as a significant site of neighborhood social exchange and social control, which official neighborhood regulations mandated. I suggest that Fabritius’s panel engaged the window’s prominent role in two possible ways. First, the trompe l’oeil painting may have been affixed to the inner jamb of an actual street-side window, where goldfinches frequently perched in both paintings and in contemporary households.
    [Show full text]
  • Jan Steen: the Drawing Lesson
    Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT].
    [Show full text]
  • 2017 Archived Version
    Hagar and the Angel ca. 1645 Carel Fabritius oil on canvas (Middenbeemster 1622 – 1654 Delft) 157.5 x 136 cm signed in brown paint, bottom left corner, “C P Fabritius” CF-100 Currently on view at: The National Museum of China, Beijing © 2017 The Leiden Collection Hagar and the Angel Page 2 of 16 How To Cite Surh, Dominique. "Hagar and the Angel." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. 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. © 2017 The Leiden Collection Hagar and the Angel Page 3 of 16 Carel Fabritius, who died tragically at the height of his career in the Comparative Figures explosion of the Delft powder house in 1654, painted this masterpiece around 1645, shortly after he had completed his apprenticeship with Rembrandt van Rijn (1606–69).[1] It is one of only five surviving history paintings from his hand (only 13 paintings by him are known) and his sole painting still in a private collection.[2] Fabritius selected dramatic moments from the Bible and classical mythology, often unusual subjects that he treated in movingly human terms. Here, in this rare and wonderful example, we see this gifted painter and storyteller at his very best. He focuses the viewer’s attention on Hagar’s moment of suffering, while alluding to other moments in the broader narrative.
    [Show full text]
  • The Image of the Town in the Paintings of the 17 Century Delft School of Painting
    Middle-East Journal of Scientific Research 19 (4): 501-504, 2014 ISSN 1990-9233 © IDOSI Publications, 2014 DOI: 10.5829/idosi.mejsr.2014.19.4.21003 The Image of the Town in the Paintings of the 17th Century Delft School of Painting: The Issue of Genre Synthesis Anna Alekseevna Dmitrieva Saint-Petersburg State University, Saint-Petersburg, Russia Abstract: The article examines the works of the Dutch artists of the 17th century Delft School of painting, which exemplify à synthesis of townscape painting and the daily-life genre. The topicality of this subject is due to the fact that it has not been developed sufficiently enough in historiography. The article’s scientific novelty lies in that it provides a detailed analysis of paintings based on the formal-stylistic and retrospective methods. Especial attention is given to the works of Carel Fabritius and Pieter de Hooch. The author comes to the conclusion that the paintings of the Delft artists are on the border of two genres - topographical townscape painting and the daily-life genre. In this context, they serve as the basis for the emergence of 18th century veduta painting. Key words: Delft 17th century Dutch painting, townscape Daily-life genre Perspective Genre synthesis INTRODUCTION The Delft painters depicted scenes from the everyday life of the Dutch bourgeoisie, often placing them within The 17th century is rightfully considered the town settings. Themes created by them on the border of Golden epoch of Dutch painting. The leading genres two genres demonstrate not just objects of architecture of this period were landscape painting and the daily- but a complex “image of the town”, which consists of life genre.
    [Show full text]
  • Vermeer, Johannes Also Known As Vermeer, Jan Vermeer Van Delft Dutch, 1632 - 1675
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Vermeer, Johannes Also known as Vermeer, Jan Vermeer van Delft Dutch, 1632 - 1675 Johannes Vermeer, The Procuress (detail), 1656, oil on canvas, Gemäldegalerie Alte Meister, Dresden BIOGRAPHY The life and art of Johannes Vermeer are closely associated with the city of Delft. He was born in Delft in 1632 and lived there until his death in 1675. His father, Reynier Vermeer, was a silk weaver who produced caffa, a fine satin fabric, but in 1631 he also registered in the Saint Luke’s Guild in Delft as a master art dealer. By 1641 he was sufficiently prosperous to purchase a large house, the “Mechelen,” which contained an inn on the market square in Delft and from which he probably also sold paintings. When Reynier died in 1652 Johannes apparently inherited his business. By that time he must have already decided on a career as a painter. It is assumed that he trained in Delft, perhaps with Leonard Bramer (Dutch, 1596 - 1674), who seems to have had close associations with Vermeer’s family, or with Carel Fabritius (Dutch, c. 1622 - 1654). No documents, however, exist about his artistic training or apprenticeship, and he may have studied elsewhere, perhaps in Utrecht or Amsterdam. Vermeer, who was baptized on October 31, 1632, in the Reformed Church in Delft, was raised a Protestant. In April 1653, however, he married into a Catholic family and seems to have converted to Catholicism shortly before that date to placate his future mother-in-law, Maria Thins, who lived in the so-called Papenhoek (Papists’ Corner) of Delft, adjacent to the Jesuit church on the Oude Langendijck, one of two hidden churches where Catholics could worship.
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Carel Fabritius (Middenbeemster 1622 – 1654 Delft) How to cite Bakker, Piet. “Carel Fabritius” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/carel-fabritius/ (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. In studying the life and work of Carel Fabritius, one soon notices that scholarly interest in his artistry focuses on two different “periods:” a real one and an imagined one. Naturally, the most attention is given to Fabritius’s actual career, which began around 1641 and ended in 1654. Then there is the great speculation regarding the period that never existed, but which could have, had his life not been cut short by the devastating explosion of the powder magazine in Delft in 1654. Only thirteen paintings have been firmly attributed to him, and his limited artistic legacy is sorely lamented. Famous paintings like The Goldfinch [1] and The Sentry[2] bespeak such originality and artistic quality that we can only regret all the works he never painted. Unfortunately, his untimely death has made it virtually impossible to determine whether his talent would have eventually been great enough to equal, if not surpass, that of his teacher, Rembrandt van Rijn (1606–69). Fabritius’s parents were Pieter Carelsz Fabritius (1598–1653) and Barbertje van der Maes (1601–67). He was baptized in Middenbeemster, a village just north of Amsterdam, on 27 February 1622.[3] His father worked there as a sexton, a schoolteacher and, in “the spare time outside school,” also as a painter.[4] Thus Fabritius, like his brothers Barent (1624–73) and Johannes (1636–93), must have received his first painting lessons from his father.
    [Show full text]
  • Codart Courant 8/June 2004
    codart Courant 8/June 2004 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director Rembrandt, their predecessors and successors: nl-1070 ka Amsterdam 3 News and notes from around the world 16th- to 18th-century Flemish and Dutch The Netherlands 3 Czech Republic, Prague, National drawings in Polish collections www.codart.nl Gallery: A birthday greeting to Hana 26 Krystyna Gutowska-Dudek, The Dutch Seifertová and Flemish paintings from the collection of Managing editor: Rachel Esner 4 France, Paris, Fondation Custodia Jan iiiSobieski housed in Wilanow Palace e [email protected] 4 Hungary, Budapest Museum of Fine Museum Arts 30 Wanda M. Rudzin´ska, The Tilman van Editors: Wietske Donkersloot, 6 Russia, St. Petersburg, State Hermitage Gameren archive in the print room of Gary Schwartz Museum Warsaw University Library t +31 (0)20 305 4515 7 codart zeven: Dutch and Flemish art 33 Study trip to Gdan´sk, Warsaw and f +31 (0)20 305 4500 in Poland Kraków, 18-25 April 2004 e [email protected] 8 Congress, Utrecht, 7-9 March 2004 39 Rulers of Poland, 14th-18th century 13 Antoni Ziemba, The Low Countries and 39 Index of Polish individuals and families codart board Poland: a history of artistic connections 40 Website news Henk van der Walle, chairman 16 Hanna Benesz, Early Netherlandish, 41 Appointments Wim Jacobs, controller of the Instituut Dutch and Flemish paintings in Polish 41 codartmembership news Collectie Nederland, secretary- collections 42 Museum list treasurer 19 Joanna Tomicka, Dutch and Flemish prints 48 codartdates Rudi Ekkart, director of the Rijksbureau in major Polish collections Preview of upcoming exhibitions and other voor Kunsthistorische Documentatie 23 Maciej Monkiewicz, Rubens and events, June-December 2004 Jan Houwert, chairman of the Board of Management of the Koninklijke Wegener N.V.
    [Show full text]
  • Girl with the Red Hat 382 DUTCH PAINTINGS
    1976 Wright: 12, 42, 44, no. 16, repro. Provenance: Possibly Pieter Claesz. van Ruijven [1624- 1977 Menzel: 68, fig. 65. 1674], Delft; possibly by inheritance to his wife, Maria de 1977b Van Straaten: 48-49, fig. 60. Knuijt [d. 1681 ], Delft; possibly by inheritance to her daugh­ 1977 NGA: 47, repro. ter, Magdalena van Ruijven [1655-1682], Delft;1 possibly by 1981 Slatkes: 70-71, repro. inheritance to her husband, Jacobus Abrahamsz. Dissius 1981 Wheelock: 124-127, no. 31, repros. 31-32. [1653-1695], Delft;2 (sale, Amsterdam, 16 May 1696, proba­ 1985 NGA: 421, repro. bly no. 39 or 40).3 (Sale, Lafontaine, Hotel de Bouillon, Paris, 1986 Aillaud, Blankert, and Montias: 11, 46, 52, 85, 10 December 1822, no. 28.) Baron Louis Marie Atthalin 132, 189-190, no. 20, pi. 22. [1784-1856], Colmar; by inheritance to his nephew and 1989 Montias: 191-192, 196, 256, 259 note 21, 266, adopted son Laurent Atthalin; by inheritance to Baron Gas­ repro. 44. ton Laurent-Atthalin [d. 1911], Les Moussets, Limey, Seine- 1990 The Hague: no. 67. et-Oise; by inheritance to his widow Baroness Laurent-At- 1991 Buijsen: 7-12, repro. thalin, Paris; (M. Knoedler & Co., New York and London); 1991 Liedtke: 21-29, repro. sold November 1925 to Andrew W. Mellon. Pittsburgh and 1991 Nash: 34 color repro., 36-37. Washington; deeded 30 March 1932 to The A. W. Mellon 1993 Frankfurt: no. 85 Educational and Charitable Trust, Pittsburgh. 1995 Wheelock: 145, 179, repro. Exhibited: Loan Exhibition of Dutch Masters of the Seventeenth Century, M. Knoedler & Co., New York, 1925, no.
    [Show full text]
  • Carel Fabritius (The Hague 02 Dec 04)
    Carel Fabritius (The Hague 02 Dec 04) Carel Fabritius International symposium On the occasion of the exhibition Carel Fabritius: young master painter - held in the Mauritshuis, The Hague, from 25 September 2004 until 9 January 2005 - the Netherlands Institute for Art History (RKD) and the Mauritshuis are organizing an international scholarly symposium on this artist, focussing on new findings and insights emanating from the exhibition. Location: auditorium of the Royal Library, Prins Willem-Alexanderhof 5, The Hague Programm Thursday 2 December 2004 Morning session Chair: Edwin Buijsen (RKD) 9.30 registration, coffee 10.00 welcome by: Rudi Ekkart, director of the RKD 10.10 Frits Duparc (Mauritshuis, The Hague), Introduction to the Exhibition 10.30 Jørgen Wadum (Mauritshuis, The Hague), Technical Aspects of Fabritius' Paintings 11.15 Volker Manuth (Radboud University, Nijmegen), A Note on Fabritius' Sentry in Schwerin 11.35 Peter Schatborn (formerly Rijksmuseum, Amsterdam), Drawings Attributed to Carel Fabritius 11.55 discussion 12.15 lunch Afternoon session Chair: Peter van der Ploeg (Mauritshuis) 14.00 Walter Liedtke (Metropolitan Museum of Art, New York), Carel 1/2 ArtHist.net Fabritius and the Delft School 14.45 Ernst van de Wetering (Rembrandt Research Project, Amsterdam), Carel Fabritius and Rembrandt's Workshop Production 15.30 tea 15.45 Christopher Brown (Ashmolean Museum, Oxford), Reflection on Fabritius after 20 Years 16.30 discussion 17.00 conclusion of the symposium, followed by a visit to the exhibition Carel Fabritius in the Mauritshuis and drinks -- Registration: Registration fee: Euro 50, including lunch, drinks and visit to the exhibition. For more information and registration send an e-mail to [email protected] or see http://www.rkd.nl -- Hilda Stafleu Communicatie & Informatie Rijksbureau voor Kunsthistorische Documentatie (RKD) / Netherlands Institute for Art History P.O.
    [Show full text]
  • Pieter De Hooch a Woman Preparing Bread and Butter for a Boy
    PIETER DE HOOCH A WOMAN PREPARING BREAD AND BUTTER FOR A BOY PIETER DE HOOCH A WOMAN PREPARING BREAD AND BUTTER FOR A BOY WAY NE FRANITS THE J. PAUL GETTY MUSEUM D LOS ANGELES This book is affectionately dedicated to Linnea and Aidan, who prove the maxim that life can indeed imitate art. © 2006 J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data Getty Publications Franits, Wayne E. 1200 Getty Center Drive, Suite 500 Pieter de Hooch : A woman preparing bread and butter for a boy / Los Angeles, California 90049-1682 Wayne Franits. www.getty.edu p. cm. Includes bibliographical references and index. Mark Greenberg, Editor in Chief ISBN-13: 978-0-89236-844-0 (pbk.) iSBN-io: 0-89236-844-6 (pbk.) Mollie Holtman, Series Editor i. Hooch, Pieter de. Woman preparing bread and butter for a boy. Cynthia Newman Bohn, Copy Editor 2. Hooch, Pieter de —Criticism and interpretation. 3. J. Paul Getty Catherine Lorenz, Designer Museum. I. Hooch, Pieter de. II. Title. ReBecca Bogner and Stacy Miyagawa, ND653.H75A73 2006 Production Coordinators 759.9492-dc22 Lou Meluso, Charles Passela, Jack Ross, Photographers 2006010091 Typography by Diane Franco All photographs are copyrighted by the issuing institutions or their owners, unless Printed and bound in China otherwise indicated. Cover: Pieter de Hooch (Dutch, 1629-1684), A Woman Preparing Bread and Butter for a Boy, circa 1661-63 (detail). Oil on canvas, 68.3 x 53 cm (26% x 20% in.). Los Angeles, J. Paul Getty Museum, 84^.47. Frontispiece: Detail of windows from A Woman Preparing Bread and Butter for a Boy.
    [Show full text]