Ontdek Schilder, Tekenaar, Prentkunstenaar Willem Drost

Total Page:16

File Type:pdf, Size:1020Kb

Ontdek Schilder, Tekenaar, Prentkunstenaar Willem Drost 24317 5 afbeeldingen Willem Drost man / Noord-Nederlands schilder, tekenaar, prentkunstenaar, etser 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. Drost, Cornelis Drost, Geraerd Droste, Willem van Drost, Willem Jansz. Drost, Guglielmo Drost, Wilhelm signed in Italy: 'G. Drost' (G. for Guglielmo). Because of this signature, he was formerly wrongly also called Cornelis or Geraerd Drost. In the past his biography was partly mixed up with that of the Dordrecht painter Jacob van Dorsten. Kwalificaties schilder, tekenaar, prentkunstenaar, etser Nationaliteit/school Noord-Nederlands Geboren Amsterdam 1633-04/1633-04-19 baptized on 19 April 1633 in the Nieuwe Kerk in Amsterdam (Dudok van Heel 1992) Overleden Venetië 1659-02/1659-02-25 buried on 25 February 1659 in the parish of S. Silvestro (Bikker 2001 and Bikker 2002). He had been ill for four months when he dued of fever and pneumonia. Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. son of Jan Barentsen (1587-1639) and Maritje Claesdr. (1591-1656). His brother Claes Jansz. Drost (1621-1689) was an ebony worker. Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Meer, Johannes van der Loth, Johann Carl Deze persoon/entiteit in andere databases 81 treffers in RKDimages als kunstenaar 12 treffers in RKDlibrary als onderwerp 92 treffers in RKDexcerpts als kunstenaar 127 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1633-04 Sterfplaats Venetië Plaats van werkzaamheid Amsterdam Plaats van werkzaamheid Rome Plaats van werkzaamheid Venetië Kwalificaties schilder Kwalificaties tekenaar Kwalificaties prentkunstenaar Kwalificaties etser Materiaal/techniek olieverf Onderwerpen portret Onderwerpen zelfportret Onderwerpen tronie Onderwerpen genrevoorstelling Onderwerpen historie (als genre) Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Amsterdam 1645 - 1655 was probably a pupuil of Van Hoogstraten in the mid1640s; was a pupil of Rembrandt in the late 1640s (Sumowski) or the early 1650s. Drost was most likely active as an independant master a few years before he left for Italy. See Bikker 2001, p. 9- 11. Rome 1655 - 1656 In Italy Drost he became friends with Johann Carl Loth and the well-to-do Utrecht painter Joan van der Meer van Utrecht, who had travelled to Italy in the company of the marine painter Lieve Verschuier in 1653 (Houbraken). Whether Drost went to Rome after a brief stay in Venice and later returned there (the first stop in Italy for many artists coming from the north of the alps was Venice), or that he first went to Venice after a brief sejourn in Rome in not known (Bikker 2005). Venetië 1655 - 1659 The work of Johann Carl Loth is close to Drost's style and subject. They made a series of depictions of the four evangelists; Drost painted three of them and Loth the fourth. Drost eventually died in 1659 at the age of 25 He lived in the house of Cornelis van Baerle (Meijer 1991A, Bikker 2002). Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'. Hoogstraten, Samuel van Rembrandt Bikker argues that Drost was a pupil of Hoogstraten in the mid1640s (Bikker 2005, p. Invloed op In dit veld worden de kunstenaars vermeld op wie de beschreven kunstenaar invloed heeft gehad zonder dat er sprake was van een onderwijssituatie of van slaafse navolging. Loth, Johann Carl Adler, Salomon Bikker convinciingly argues that Drost, who was said to have been the teacher of Loth (in 1685 and 1761), had a major impact on him and belonged to the vangueard of artists who introduced the tenebrist style (Bikker 2002). Onderwerpen In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur. portret, zelfportret, tronie, genrevoorstelling, historie (als genre) Materiaal/techniek olieverf Literatuur Literatuur in RKDLibrary 12 treffers in RKDlibrary als onderwerp Houbraken 1718-1721 , vol. 3 (1721), p. 61, 291 (as: Drost) Thieme/Becker 1907-1950 , vol. 9 (1913), p. 576-577 Waller 1938/1974 , p. 85 Gerson 1942/1983 , p. 163 Hollstein et al. 1949-2010 , vol. 6 [1952], p. 4-5 Witt Checklist 1978 Sumowski 1979-1992 , vol. 1 (1980), p. 608-651 Meijer 1991A , p. 91 Langedijk 1992 , p. 32-37 Saur 1992- , vol. 29 (2001), p. 497-8 (test: J. Bikker) Bikker 2005 , passim Bevers et al. 2009 , passim De Witt/Van Sloten/Van der Veen 2015 , passim W.R. Valentiner, 'Willem Drost, pupil of Rembrandt', Art Quarterly 2 (1939), p. 294-325 D. Pont, 'De composities "Ruth en Naomi" te Bremen en te Oxford. Toeschrijving aan Willem Drost', Oud Holland 75 (1960), p. 205-221 W. Sumowski, 'Beiträge zu Willem Drost', Pantheon 27 (1969), p. 372-383 K. Langedijk, 'Das Selbstbildnis von Willem Drost (nicht Honthorst) in Florenz', Mittelungen des Kunsthistorischen Institutes in Florenz 22 (1978), p. 363-365, ill. B. Aikema, 'Een Venetiaans schilderij van Willem Drost', Oud Holland 103 (1989), p. 115-117. URL: http://dx.doi.org/10.1163/187501789X00077 S.A.C. Dudok van Heel, 'Willem Drost, een ongrijpbaar Rembrandt-leerling', Maandblad Amstelodamum 79 (1992), p. 15-21 J. Bruyn, 'Nog iets over de 'ongrijpbare' Willem Drost', Maandblad Amstelodamum 79 (1992), p. 56-57 J. Bikker, 'Drost's end and Loth's beginning in Venice', The Burlington Magazine 144 (2002), p. 147-156 W. Liedtke, 'Rembrandt's "Workshop" revisited', Oud Holland 117 (2004), p. 48-73 (esp. p. 68) L. Slavicek, 'Vincenc Kramar and a fragment of Rembrandts Annunciation of the Virgin. On the history and reception of an acquisition', Bulletin of the National Gallery in Prague 16-17 (2006-2007), p. 21-39 I. Sokolova, 'Paintings by Willem Drost in the State Hermitage Museum, St Petersburg', The Burlington Magazine 151 (2009), p. 86-89 Th. Ketelsen, 'Rembrandt und einer der Seinen in Dresden', in: Ch. Dittrich e.a., Johann Heinrich von Heucher und Carl Heinrich von Heineken : Beiträge zur Geschichte des Dresdner Kupferstich-Kabinetts im 18. Jahrhundert, Dresden 2010, p. 179-188 I. Sokolova, ' Paintings by Willem Drost (1633-1659) in the Hermitage collection: new research and hypotheses', in: In Memoriam Vladimir Levinson-Lessing. Proceedings of the conferences 2006-2007, Sint Petersburg 2011, p. 67-77 en 213 (Russisch met Engelse summary) Ook verschenen in: Trudi Gosudarstwennogo 56 (2011), p.67-77 [artikel in het Russisch met summary] Documentatie RKD In dit veld worden de standplaatsen vermeld van documentatiemateriaal in het RKD. De meeste standplaatsen verwijzen naar de kunsthistorische beelddocumentatie. Daarnaast treft u verwijzingen naar persdocumentatie aan (knipsels en klein drukwerk). BD/RKD/0550 - ONS/Historie: Rembrandt en school BD/RKD/0558 - ONS/Genre 2: algemeen BD/RKD/0560 - ONS/Genre 2: volksleven BD/RKD/0612 - ONS/Portretten: Rembrandt en school BD/RKD/0614 - ONS/Portrait historié BD/RKD/0676 - ONS/Originele grafiek (op inventor) BD/RKD/0132 - ONT/Religie, mythologie, allegorie, historie en literatuur BD/RKD/0140 - ONT/Figuren BD/RKD/0142 - ONT/Naaktfiguren BD/RKD/0144 - ONT/Portretten en koppen BD/RKD/0154 - ONT/Landschappen BD/RKD/0276 - ONT/Grafiek BD/RKD/0278 - ONT/Voorordening tekenkunst PDO/Nederlandse kunstenaars BD/RKD/Witt-microfiches BD/RKD/IB Project RemBench Gerson Digital : Italië Externe links this artist in Ecartico Permalink https://rkd.nl/explore/artists/24317 Ingevoerd op: 1991-12-03; Laatste wijziging: 2021-08-04 RKD – Nederlands Instituut voor Kunstgeschiedenis Prins Willem-Alexanderhof 5 (KB-complex) 2595 BE Den Haag Nederland Openingstijden Bekijk de actuele openingstijden van het RKD Contact T: 070 3339777 E: [email protected] Meer Privacybeleid Disclaimer Leveringsvoorwaarden Facebook Twitter Linkedin Instagram.
Recommended publications
  • Openeclanewfieldinthehis- Work,Ret
    -t horizonte Beitràge zu Kunst und Kunstwissenschaft horizons Essais sur I'art et sur son histoire orizzonti Saggi sull'arte e sulla storia dell'arte horizons Essays on Art and Art Research Hatje Cantz 50 Jahre Schweizerisches lnstitut flir Kunstwissenschaft 50 ans lnstitut suisse pour l'étude de I'art 50 anni lstituto svizzero di studi d'arte 50 Years Swiss lnstitute for Art Research Gary Schwartz The Clones Make the Master: Rembrandt in 1ó50 A high point brought low The year r65o was long considerecl a high point ot w-atershed fcrr Rem- a painr- orandt ls a painter. a date of qrear significance in his carecr' Of ng dated ,65o, n French auction catalogue of 18o6 writes: 'sa date prouve qu'il était dans sa plus grande force'" For John Smith, the com- pl.. of ih. firr, catalogue of the artistt paintings in r836, 165o was the golden age.' This convictíon surl ived well into zenith of Rembranclt's (It :]re tnentieth centufy. Ifl 1942, Tancred Borenius wfote: was about r65o one me-v sa)i that the characteristics of Rembrandt's final manner Rosenberg in r.rr e become cleady pronounced.'l 'This date,'wroteJakob cat. Paris, ro-rr r8o6 (l'ugt 'Rembrandt: life and wotk' (r9+8/ ry64),the standard texl on the master 1 Sale June t)).n\t.1o. Fr,,m thq sxns'6rjp1 rrl years, 'can be called the end of his middle period, or equallv Jt :,r many the entrv on thc painting i n the Corpns of this ''e11, the beginning of his late one.'a Bob Haak, in 1984, enriched Renbrandt paintings, r'ith thanks to the that of Rcmbrandt Research Project for show-ing ,r.rqe b1, contrasting Rembrandt's work aftet mid-centurl' with to me this and other sections of the draft 'Rembrandt not only kept his distance from the new -.
    [Show full text]
  • 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 .................................................................................................................
    [Show full text]
  • Faculty of Humanities and Social Sciences Spring 2018– Course Descriptions
    FACULTY OF HUMANITIES AND SOCIAL SCIENCES SPRING 2018– COURSE DESCRIPTIONS HSS2 (A-N) Texts and Contexts: Old Worlds and New (Core course, 3 credits). This course is offered in multiple Sections. A study of texts and topics from 1500 to 1800, with emphasis on literary expression and cultural context. Contextual topics include the formation of modern states, exploration, encounter with the new world, the crisis in religious orthodoxy, the origins of modern science and the beginnings of political and economic individualism. This semester develops both cultural and political understanding through close reading, class discussion, and careful writing. HSS4 The Modern Context: Figures and Topics (Core course, 3 credits). A study of important figures or topics from the modern period whose influence extends into contemporary culture. Requirements include individual research and writing projects and is offered in multiple sections: HSS4 A & B: Adorno. This section of HSS4 focuses on one of the most significant philosophers of the 20th century, Theodor W. Adorno. In his work, Adorno analyzes the contradictory situations of modern society, which was founded on the myth of enlightened Reason and yet gave rise to Auschwitz. His effort, therefore, is to explore the very concept of modernity in order to understand the situations of crisis of our time. All this finds a natural application in his analysis of modern art. For Adorno, art should preserve memory and at the same time show the ‘other’ dimensions of what simply exists, in order to maintain that critical function that is at the basis of our own possibility of existence. 3 credits.
    [Show full text]
  • April 2007 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
    [Show full text]
  • The Philosopher C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt Workshop (Possibly Willem Drost) Dutch 17th Century Rembrandt van Rijn Dutch, 1606 - 1669 Willem Drost Dutch, c. 1630 - after 1680 The Philosopher c. 1653 oil on panel overall: 61.5 x 49.5 cm (24 3/16 x 19 1/2 in.) framed: 105.4 x 92.4 x 9.2 cm (41 1/2 x 36 3/8 x 3 5/8 in.) Widener Collection 1942.9.66 ENTRY With piercing, deep-set eyes, this bearded man leans forward and stares off to his right. He wears a wide, floppy beret and a red-and-yellow patterned robe draped over his shoulders. While this mysterious and intense figure has traditionally been identified as “The Jewish Philosopher,” this designation is undoubtedly fanciful. Nevertheless, the image clearly depicts a concerned individual who seems to be actively brooding over his thoughts. From 1639 until 1656 Rembrandt lived in a large house on the Jodenbreestraat on the edge of the Jewish quarter in Amsterdam. During those years, and particularly from the late 1640s, he frequently depicted Jewish models in his paintings. As Rosenberg has suggested, Rembrandt probably found in the picturesque faces of the Ashkenazi Jews an intense spirituality that suggested to him the spirit of the people who populated the ancient world. [1] At a time when he was searching for a deeper emotional understanding of biblical and historical figures, he found in these The Philosopher 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century care-worn faces an underlying philosophical awareness of human existence.
    [Show full text]
  • The Philosopher Process That Occurs in the Washington Descent from the Cross
    at the Gallery then as a summer intern. The problems of the References genesis of the painting as understood at that time were pub­ 1902 Neumann: (mentioned only in 1922 ed., 1: repro. lished in Wheelock 1988, 218-220. 44). 12. Similar effects are found in the x-radiographs of Rem­ 1907-1927 HdG, 6(1916): 102, no. 133. brandt's Self-Portrait with Saskia, Gemaldegalerie, Dresden. 1909 "Sale Room": 57. See the illustration in Corpus 1982-, 3: cat. Am, page 134. 1909b Bode: 1 -9, repro. no. 4. 13. The piece to the left is approximately 37.9 cm wide 1909 Hofstede de Groot: 173-183, repro. no. 6. and that to the right approximately 73 cm wide. 1921 Bachstitz Gallery, 1: 5, pi. 31. 14. This calculation is based on the existing width of the 1921b Valentiner: xxii, no. 72, repros. 71-72. righthand piece of canvas (about 73 cm) with an addition of 1922 Neumann, 1: 205-206, repro. about 7 cm for the apparent reduction along the right edge. 1923 Meldrum: 64, note 2, 198. This reduction is calculated by noting that, with the excep­ 1923 Widener: unpaginated, repro. tion of his left hand, the man who supports Mary in the 1929 Stechow: 217-232, repro. no. 11. Hermitage painting was eliminated in the Gallery Descent 1930b Valentiner: 2-84, repro. when the canvas was cut. 1931 Widener: 86, repro. 15. In one instance it seems as though the unpigmented 1931 Valentiner: pi. 113. layer fills cracks in the dark layer. 1932 Hind: 24, 122, xcvii, repro.
    [Show full text]
  • Rembrandt: Britain's Discovery of the Master
    Rembrandt: Britain's Discovery of the Master 2018-07-07 2018-10-14 Objects proposed for protection under Part Six of the Tribunals, Courts and Enforcement Act 2007 (Protections of cultural objects on loan from outside the UK). Albertina Museum, Albertinaplatz 1, Vienna A-1010 Austria Type of work: Drawing Title: View of Windsor Castle Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 18.30 x 29.70 cm Materials: Pen and brown ink, brown wash and traces of black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945. Provenance: A.-J. Dezallier d’Argenville [L.2951], by 1765; Moritz von Fries, Vienna and Paris [Lugt 2903]; Duke Albert of Saxe-Teschen, by 1822. Exhibition Not recorded history: Publications Otto Benesch, The Drawings of Rembrandt, 6 vols, London, 1954-1957, 2nd edn, enlarged and edited by history: Eva Benesch, London and New York, 1973, no.786; Holm Bevers, ‘Review of: Peter Schatborn, Rembrandt and His Pupils: Drawings in the Frits Lugt Collection’, Master Drawings, 2012, vol.50, no.3, pp. 402-04; Peter Schatborn and Leonore van Sloten, Old Drawings, New Names: Rembrandt and his Contemporaries, exh. cat., Amsterdam (Museum het Rembrandthuis), 2014, pp.106-09 Page 1 of 16 Type of work: Drawing Title: View of London with Old St Paul's Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 17.70 x 32.10 cm Materials: Pen and brown ink, brown wash and some black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945.
    [Show full text]
  • From Tribal Art to Old Master Paintings, Taking the Market's Temperature At
    AiA Art News-service From tribal art to Old Master paintings, taking the market's temperature at Tefaf Maastricht As the Dutch fair opened its 32nd edition, we spoke to exhibitors across four sectors about the state of the market GARETH HARRIS 19th March 2019 14:11 GMT Vetting at Tefaf Maastricht 2019 Photo: Loraine Bodewes Paintings: top-notch material is increasingly scarce Ask Old Masters dealers about the state of the market, and they invariably highlight the dearth of good material available. Andrea Lullo of the London-based dealer Lullo Pampoulides is participating at Tefaf Maastricht for the third time after graduating from the Showcase newcomer section. “The top ten old masters are impossible to source but there are plenty of other artists that buyers are curious about,” he said. Works shown on the stand include Domenico Fetti’s Melancholia (around 1615; asking price of €2m) and the sculpture Hercules on the Pyre (around 1702-03) by Guillaume I Coustou which was sold (asking price of €850,000). “It is always extremely difficult to find new material, and we always have to think about reaching higher levels next year,” said Jasper Hillegers of Salomon Lilian gallery in Amsterdam. Their stand was frequently crowded with visitors, with three sales made by the VIP preview day (15 March) including the dramatic portrait Cimon and Pero (Caritas Romana) by the Dutch Golden Age painter Willem Drost. Old Masters dealers must be more cautious in finding inventory says Guy Stair Sainty of the eponymous London gallery. “We would pick out around 15% of works in sales catalogues; now it’s around 1%,” he said.
    [Show full text]
  • November 2009 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 26, No. 2 www.hnanews.org November 2009 Willem van Haecht, Apelles Painting Campaspe, c. 1630. Royal Picture Gallery Mauritshuis, The Hague. On view at the Rubenshuis, Antwerp, November 28, 2009 – February 28, 2010. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents HNA News ............................................................................1 Board Members Obituary.................................................................................. 2 Personalia ............................................................................... 3 Ann Jensen Adams Exhibitions ............................................................................ 4 Dagmar Eichberger Exhibition Review .................................................................8 Wayne Franits Matt Kavaler Museum News .....................................................................
    [Show full text]
  • Paintings by Willem Drost (1633 – 1659) in the Hermitage: New Research and Hypotheses
    Paintings by Willem Drost (1633 – 1659) in the Hermitage: new research and hypotheses Irina Sokolova, Head of department of Dutch paintings, State Hermitage Museum, St. Petersburg Willem Drost (1633-1659), active in Amsterdam and Venice, was for many years one of the most mysterious figures in the circle of Rembrandt’s pupils. His early works reveal how he achieved a mastery of Rembrandt’s virtuoso manner. He left Holland in 1655 and settled in Italy, where his style changed considerably under the influence of the Venetian tenebrosi. His death, at the age of only 25, in February 1659 cut short this outstanding young artist’s career, just as it was reaching new heights. In recent decades the artist has been the subject of considerable scholarly study. A decisive contribution to the reconstruction of his oeuvre was made by Jonathan Bikker, author of the first monograph on Drost (Willem Drost (1633 – 1659). A Rembrandt Pupil in Amsterdam and Venice, New Haven & London, 2005). The material gathered there creates a clearer picture of this highly creative individual’s formation as an artist. At present, only 38 paintings are considered undisputed works by Drost. With time, no doubt, a number of other paintings will surface in museum collections, where they are currently hiding under other names. The works in the Hermitage are a case in point. The earliest (and best known) painting in the Hermitage attributed to Drost is Timothy and Lois – as it is known the modern literature – or The Prophetess Anna Instructing a Child (Bikker, cat. 4; Inv. GE 740; oil on canvas, 117 x 89 cm).
    [Show full text]
  • A Woman Holding a Pink REMBRANDT VAN RIJN
    29. For an assessment of the different character of the 1970, 1: 140-146, fig. 69). interpretations of the story in these two paintings see Bal 1948 Rosenberg, 1: 137 (also 1964 rev. ed.: 222). 1991, 105-108. 1949 Mellon: 85, repro. 30.1 would like to thank Ernst van de Wetering for sharing 1954 Miinz: 114. with me his observations about these areas when he examined 1954-1957 Ben. 5 (1957): 277 (also 1973 enlarged ed., 5: the painting in 1989. 265). 31. The overly dramatic gesture of Joseph as he looks i960 Roger-Marx: 72-73, 280. heavenward is quite uncharacteristic for Rembrandt in the 1960a Goldscheider: 177 no. 85, repro. 85. mid-i65os. It is a gesture, however, that does appear in 1965 Krieger: 14. Willem Drost's drawing of The Lament for Abel (see Sumowski 1965 NGA: 109, no. 79. 1979-1992, 3: 1204, no. 553x, repro.). This coincidence, as 1966 Bauch: 3, 33, repro. well as the relatively bold brushwork with thick impastos, 1967 Van Regteren: 69-71. which relates to Drost's known works, suggests that he may 1968 NGA: 96, no. 79, repro. have been responsible for the Berlin version. 1968 Gerson: 114, 116, 362-363, repro., 499. 32. For an analysis of Renesse's style and biographical 1969 Gerson/Bredius: 432, repro., 601. information on the artist, see The Descent from the Cross (pp. 1969 Washington: no. 13. 301-309). 1970 Benesch, in Benesch 1970, 1: 83-100, fig. 69. •973 Kauffmann, in Simson and Kelch 1973: 50-57, repro. 14. References '973 Klessmann, in Simson and Kelch 1973: 44-49.
    [Show full text]
  • Portrait of Rembrandt
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Anonymous Artist Rembrandt van Rijn Dutch, 1606 - 1669 Portrait of Rembrandt 1650 oil on canvas overall: 92 x 75.5 cm (36 1/4 x 29 3/4 in.) framed: 125.1 x 107 x 11.4 cm (49 1/4 x 42 1/8 x 4 1/2 in.) Inscription: center right: Rembrandt f. / 1650 Widener Collection 1942.9.70 ENTRY For an artist whose face is so well known through his numerous painted, drawn, and etched self-portraits, it is quite remarkable that Rembrandt’s image in this painting was not recognized by early nineteenth-century critics. While it was in the possession of Chevalier Érard and William Williams Hope, two important and discerning collectors, the sitter was thought to be the important Dutch admiral Maerten Harpertsz Tromp (1598–1653). One wonders what prompted this unexpected belief since Tromp’s known portraits look totally different.[1] To judge from the commentary in the Érard catalog, the theory seems to have been based partially on the outmoded costume: the pleated white shirt, the dark overdress with its rich impastos bordering the front and slashed purple sleeves lined with yellow, and the brown beret worn at a jaunty angle over the elaborate yellow-and-red skullcap. The theory that the portrait depicted an admiral was reinforced by the gold-handled staff upon which the sitter rests his hand. But primarily, it seems, the depiction of the sitter’s character fit what was thought to be Tromp’s assured, noble, and philosophical nature.[2] While the sitter’s expression, created through subtle effects of lighting on the face as well as the unusual, sidelong glance, has continued to intrigue writers, entirely different interpretations of its character have been advanced by critics who recognized that the painting represented Rembrandt.[3] Bode found little evidence of a philosophical mind in the image.
    [Show full text]