Ontdek Schilder, Tekenaar, Prentkunstenaar Jan Baptist Weenix
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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. -
Still Life with Swan and Game Before a Country Estate C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Jan Weenix Dutch, 1642 - 1719 Still Life with Swan and Game before a Country Estate c. 1685 oil on canvas overall: 142.9 x 172.4 cm (56 1/4 x 67 7/8 in.) framed: 173.4 x 202.3 x 14.9 cm (68 1/4 x 79 5/8 x 5 7/8 in.) Patrons' Permanent Fund 2004.39.1 ENTRY This imposing game piece features the lifeless bodies of a large white goose and a reddish-brown hare arrayed with an almost aristocratic elegance in the left foreground of an expansive formal garden.[1] In addition to being larger than other pictorial elements, the goose and the hare are also more brilliantly illuminated and rendered with extraordinary care and sensitivity.[2] Indeed, the goose’s downy feathers and the hare’s soft fur seem so real that one could imagine their supple forms yielding to the touch.[3] Weenix extended the sweeping flow of their large bodies across the foreground and enlivened the scene with a confrontational exchange between a dove and a small dog (a papillon). The dove, standing before the dead game, has sharply turned its head and thrown back its wings in defiant response to the dog’s sudden intrusion (and barking?), while the dog reacts defensively to the dove’s angry posture. As though startled by the sudden commotion below, another dove flies aloft in the evening sky. Jan Weenix learned the art of painting game pieces in the 1650s and 1660s in the studio of his father, Jan Baptist Weenix (1621–1660/1661).[4] Following a Flemish tradition established by Frans Snyders (Flemish, 1579 - 1657), Weenix’s father generally situated his game pieces, including the large Still Life with a Dead Swan in Detroit [fig. -
Aaabbie Second Chance Thesis 2
Plumes of Power: Melchior de Hondecoeter, William III of Orange, and the Advent of the Estate Piece Abigail Leigh Maynard Chrisman Supervisor: Sarah Moran Second Reader: Lisanne Wepler Research Master Thesis Art History of the Low Countries Student: 5841992 Utrecht University 2018 Chrisman, !2 Table of Contents: Introduction…………………………………………………………………………..4 1.0 Chapter 1 The Who: Melchior and William 1.1 Melchior De Hondecoeter, Painter of Birds…………………………………..9 1.2 Science and Myth, Stilled Life and Method………………………………….14 1.3 History Painting and Still-Life………………………………………………..17 1.4 Ornithological Knowledge……………………………………………….…..23 1.5 Literary Influence…………………………….……………….….…………..27 1.6 William III, Stadholder and King……………………………………………32 2.0 Chapter 2 The Where: Architectural Settings 2.1 Stylistic Influences…………………………………………………………….38 2.2 Frederik Hendrik’s Honselaarsdijk……………………………………………41 2.3 Forming Style at Soestdijk…………………………………………………….42 2.4 Achievement at Het Loo……………………………………………………...43 2.5 Expansion and The Menagerie………………………………………………47 2.6 A History of Image-Building…………………………………………………50 2.7 The Garden of William and Mary…………………………………………...53 2.8 Establishing Visual Culture in England………………………………………59 3.0 Chapter 3 The Why: Power Structures 3.1 Wealth in the Netherlands……………………………………………………61 3.2 The Science of Collecting: Kunstkamers and Menageries…………………..63 3.3 Indian Animals Above the Mantel……………………………………..…….66 3.4 Gardens as Depictions of Man and Nature………………………………….69 3.5 Collecting The Floating Feather……………………………………………...76 -
THE EXOTIC GIFT and the ART of the SEVENTEENTH-CENTURY DUTCH REPUBLIC By
THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC By ©2013 ELLEN O’NEIL RIFE 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. ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. ________________________________ Sally J. Cornelison, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Amy McNair, Ph.D. ________________________________ William D. Keel, Ph.D. Date Defended: 4/9/2013 The Dissertation Committee for Ellen O’Neil Rife certifies that this is the approved version of the following dissertation: THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. Date approved: 4/9/2013 ii Abstract This dissertation examines the intersection between art and the gifting of exotic objects in the seventeenth-century United Provinces, directing attention to a special class of imagery visualizing the remarkable extent to which Europe’s first consumer culture became intertwined with foreign goods and influences. Its four chapters present representative case studies encompassing a range of media, including prints and paintings, and artistic genres, such as still life, portraiture, landscape, and allegory, from the mid- through the late- seventeenth century. These episodes of exotic gift exchange and their manifestation in art belonged to public and private spheres, the gifting of men and women, and multiple classes of society. In analyzing these images, my methodology draws on close readings; socioeconomic, historical, pictorial, and cultural contexts; gender; and issues in gift theory, including reciprocity, identity, personalization, and commodity/gift status, to explore the pictures’ meanings or functions for their audiences. -
1- Collecting Seventeenth-Century Dutch Painting in England 1689
-1- COLLECTING SEVENTEENTH-CENTURY DUTCH PAINTING IN ENGLAND 1689 - 1760 ANNE MEADOWS A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy t University College London, November, 1988. -2- ABSTIACT This thesis examines the collecting of seventeenth century Dutch painting in England from 1689 marking the beginning of auction sales in England to 1760, Just prior to the beginning of the Royal Academy and the rising patronage for British art. An examination of the composition of English collections centred around the period 1694 when William end Mary passed a law permitting paintings to be imported for public sale for the first time in the history of collecting. Before this date paintings were only permitted entry into English ports for private use and enjoyment. The analysis of sales catalogues examined the periods before and after the 1694 change in the law to determine how political circumstances such as Continental wars and changes in fiscal policy affected the composition of collecting paintings with particular reference to the propensity for acquiring seventeenth century Dutch painting in England Chapter Two examines the notion that paintings were Imported for public sale before 1694, and argues that there had been essentially no change In the law. It considered also Charles It's seizure of the City's Charters relaxing laws protecting freemen of the Guilds from outside competition, and the growth of entrepreneur- auctioneers against the declining power of the Outroper, the official auctioneer elected by the Corporation of City of London. An investigation into the Poll Tax concluded that the boom in auction sales was part of the highly speculative activity which attended Parliament's need to borrow public funds to continue the war with France. -
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. -
Ontdek Prentkunstenaar, Schilder, Tekenaar Nicolaes Berchem
6727 3 afbeeldingen Nicolaes Berchem man / Noord-Nederlands schilder, tekenaar, etser, decoratieschilder (van interieurs), prentkunstenaar, prentenverzamelaar, schilderijenverzamelaar 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. Berchem, Nicolaes Pietersz. Berchem, Claes Pietersz. Berchom, Cornelis van Berghen, Nicolaes Berghem, Niclas Berighem, Claes Berrighem, Nicolaes Haarlem, Claasz. van Pietersen, Claes known signatures: CBerghem, CBerighem, CBerrighem and NBerchem (Stechow 1965); also CJ Berchem (c. 1640) and Berchem (final decade) were used, depending when the piece was painted (M. de Kinkelder); the name Berchem is deduced from his father's place of birth (Van Thiel-Stroman 1999, p. 242, note 1 and p. 243, note 36); registered as Claes Pietersen with the Haarlem guild in 1642 (Van Thiel-Stroman, p. 236); Cornelis de Bie called him Cornelis van Berchom (Van Thiel-Stroman 2006, p. 242-243, note 38) Kwalificaties schilder, tekenaar, etser, decoratieschilder (van interieurs), prentkunstenaar, prentenverzamelaar, schilderijenverzamelaar Houbraken mentions he owned a precious copy of the print after Raphael's Massacre of the Innocents with the pine tree (Houbraken 1719, p. 112). His collection of paintings was auctioned on May 4, 1683 in the house of his widow and his collection of drawings and prints was auctioned on December 7, 1683 (Kramm; Van Thiel-Stroman 2006, p. 104) Nationaliteit/school Noord-Nederlands Geboren Haarlem 1621/1622 ccording to Houbraken, his funeral announcement said that he died in 1683, when he was fully 60 years old, which would make 1624 [sic] his year of birth (Houbraken 1719). -
From Rubens to the Grand Tour
From Rubens to the Grand Tour ACADEMY ART MUSEUM EASTON, MARYLAND APRIL 25 – JULY 5, 2015 WRITTEN AND CURATED BY Anke Van Wagenberg CATALOG DESIGN BY Janet Hendricks From Rubens to the Grand Tour From Rubens to the Grand Tour focuses on Agrippina and Germanicus and Roman Imperial Couple, two paintings by Peter Paul Rubens, the famous painter from the southern Netherlands. Bringing these two works together the exhibition explores Rubens’s expert knowledge of the social and political history of the antique world, Rome in particular, and reveals how the artist set the standard for the double portrait as painterly subject matter. The concept of the exhibition is based on Curator Anke Van Wagenberg’s article “A Matter of Mistaken Identity - In Search of a New Title for Rubens’s ‘Tiberius and Agrippina’,” in Artibus et Historiae (2005). In the article she raised doubts about the title of the first painting, then called Tiberius and Agrippina, and hypothesized about a identity and thus a new title, based on the issues of the complex relationship between the Roman Emperor Tiberius and Germanicus’s wife Agrippina the Elder. Rubens’s interest in and thorough knowledge of the antiques and the Roman Julian-Claudian history is of particular importance. I Travel to Rome For centuries artists have traveled to Italy and Greece to observe the antiquities first hand for inspiration. Albrecht Dürer in the fifteenth century and Pieter Brueghel in the sixteenth century undertook such voyages, as did Rubens’s teacher Otto van Veen. The seventeenth- century Dutch artist Abraham Bloemaert who had numerous students in his Utrecht studio, encouraged all of them to go to Rome. -
2005 Recent Acqusitions
RAFAEL VALLS 2017 2017 Acquisitions Cover.qxp_2005 Recent Acquisitions Cover 10/02/2017 11:22 Page 1 2017 RECENT ACQUISITIONS OLD MASTER PAINTINGS 11 Duke Street, St. James’s, London SW1Y 6BN Telephone: +44 (0) 20 7930 1144 Fax: +44 (0) 20 7976 1596 Email: [email protected] Website: www.rafaelvalls.co.uk @rafaelvallsgallery Member of BADA & SLAD ACKNOWLEDGEMENTS We are extremely grateful to the following for their generous help in the writing of this catalogue: Sabine Craft-Giepmans, Vincent Delieuvin, Charles Dumas, Bert Gerlagh, Guido Jansen, Claudine Lebrun, Olivier Lefeuvre, Fred Meijer, Pieter van der Merwe, Michael Ripps, Josechu Urbina and Alexandra Zvereva. Front Cover: Peter Simon Verelst ‘A Still Life with a Partridge hanging from a Nail’, (detail) cat. no. 29. Back Cover: Mattheus van Helmont ‘The Scribe’s Office’, (detail) cat. no. 9. Catalogue of Works The Catalogue is arranged in alphabetical order 1. Nicasius Bernaerts 2. Giuseppe Canella 3. John Cleveley, the elder 4. Laurence Cosse 5. Gebrand van den Eeckhout 6. Jacob van Es 7. Workshop of Domenikos Theotokopoulos, called El Greco 8. Pieter van Hanselaere 9. Mattheus van Helmont 10. Melchior de Hondecoeter 11. Jean-Pierre Houel 12. Jan van Huysum 13. John Knox 14. Johann Jakob Koller 15. Philippe Jacques de Loutherbourg, R.A. 16. Cristóvão de Morais 17. Pieter Nason 18. Jean Marc Nattier 19. Reinier Nooms 20. Isaak Ouwater 21. Jan Peeters 22. Bernardo Polo 23. Adam Pynacker 24. Ary Scheffer 25. Nicolaes Steenwijk 26. David Teniers, the elder 27. Andrea Urbani 28. Cornelis Verbeeck 29. Pieter Simon Verelst 30. -
Conservation and Investigation of a Painting by Jan Baptist Weenix Credit: © English Heritage Trust, Kenwood House
TREATMENT FEATURE | Revealing a new identity? Conservation and investigation of a painting by Jan Baptist Weenix Credit: © English Heritage Trust, Kenwood House. Kenwood Trust, Heritage © English Credit: Radosław Chocha and Alice Tate-Harte describe the complex cleaning and restoration of a painting by Jan Baptist Weenix from Kenwood House, English Heritage. The treatment coincided with new art-historical research conducted by Anke A. Van Wagenberg-Ter Hoeven who describes how she identified the sitters in the painting as the artist’s family. INTRODUCTION painter in his day. The son of an architect, Weenix was born The painting Family in a Mediterranean Seaport by Jan in 1621 in Amsterdam. He was apprenticed to a bookseller Baptist Weenix hangs in Kenwood House as part of the and was always using scrap paper to make drawings from Iveagh Bequest (figures 1 and 2). You could be forgiven life (Houbraken 1718-1721). He studied under several for not being familiar with the artist, as the first catalogue painters: Jan Christiaensz Micker and Abraham Bloemaert raisonné has only just been published (Van Wagenberg- in Utrecht, and Claes Moeyaert in Amsterdam. He married Ter Hoeven 2018). He was a very successful and wealthy Josijntje De Hondecoeter and had a son, Jan, who was born in 1641. When his son was 14 months old, Weenix travelled to Rome to study Italian painting, much to his wife’s dismay. Weenix implored his wife to join him with their young son, but she refused to leave home. He joined the Schildersbent who were a society of Dutch and Flemish painters working in Rome.1 While there, his speech Credit: © English Heritage Trust, Kenwood House. -
Weenix, Jan Dutch, 1642 - 1719
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Weenix, Jan Dutch, 1642 - 1719 BIOGRAPHY Jan Weenix was born in Amsterdam in 1642, the son of the Italianate painter Jan Baptist Weenix (1621–1660/1661) and Josina de Hondecoeter.[1] He spent his early childhood in Amsterdam without his father, who left for an artistic sojourn in Italy just fourteen months after Jan’s birth. Jan Baptist returned to Amsterdam in 1647, and shortly thereafter the family moved to Utrecht. By 1657 they had settled in a large house outside of the city, the “Huis ter Mey,” where the younger Jan became a pupil in his father’s studio. After Weenix joined the Utrecht painter’s guild in 1664, he painted Italianate genre scenes in the manner of his father.[2] He probably moved to Amsterdam in the early 1670s, although the first official record of him in that city was not until October 1679, when he married.[3] In Amsterdam Weenix abandoned the painting of Italianate scenes in favor of extravagant game pieces, a genre that had gained popularity since the 1650s, thanks in part to Weenix the elder's success in painting such scenes.[4] Jan Weenix had only one known pupil, Dirk Valkenburg (1675–1721), who closely imitated his master’s style. Weenix’s paintings, which were sought after by wealthy Amsterdam burghers, typically depict dead game set against lush landscapes with dramatic views into the distance. He often combined these scenes with classical elements, including antique urns and statues. -
Weenix, Jan Dutch, 1642 - 1719
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Weenix, Jan Dutch, 1642 - 1719 BIOGRAPHY Jan Weenix was born in Amsterdam in 1642, the son of the Italianate painter Jan Baptist Weenix (1621–1660/1661) and Josina de Hondecoeter.[1] He spent his early childhood in Amsterdam without his father, who left for an artistic sojourn in Italy just fourteen months after Jan’s birth. Jan Baptist returned to Amsterdam in 1647, and shortly thereafter the family moved to Utrecht. By 1657 they had settled in a large house outside of the city, the “Huis ter Mey,” where the younger Jan became a pupil in his father’s studio. After Weenix joined the Utrecht painter’s guild in 1664, he painted Italianate genre scenes in the manner of his father.[2] He probably moved to Amsterdam in the early 1670s, although the first official record of him in that city was not until October 1679, when he married.[3] In Amsterdam Weenix abandoned the painting of Italianate scenes in favor of extravagant game pieces, a genre that had gained popularity since the 1650s, thanks in part to Weenix the elder's success in painting such scenes.[4] Jan Weenix had only one known pupil, Dirk Valkenburg (1675–1721), who closely imitated his master’s style. Weenix’s paintings, which were sought after by wealthy Amsterdam burghers, typically depict dead game set against lush landscapes with dramatic views into the distance. He often combined these scenes with classical elements, including antique urns and statues.