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Jan Miense Molenaer Oil Paintings Jan Miense Molenaer [Dutch Baroque Era Painter, ca.1610-1668] Allegory of Vanity, detail 44936-Molenaer, Jan Miense-Allegory of Vanity (detail).jpg Oil Painting ID: 44936 | Order the painting Family Making Music 44937-Molenaer, Jan Miense-Family Making Music.jpg Oil Painting ID: 44937 | Order the painting Painter in His Studio, Painting a Musical Company 44938-Molenaer, Jan Miense-Painter in His Studio, Painting a Musical Company.jpg Oil Painting ID: 44938 | Order the painting Peasants in the Tavern 44939-Molenaer, Jan Miense-Peasants in the Tavern.jpg Oil Painting ID: 44939 | Order the painting Tavern of the Crescent Moon 44940-Molenaer, Jan Miense-Tavern of the Crescent Moon.jpg Oil Painting ID: 44940 | Order the painting The Denying of Peter, detail 44941-Molenaer, Jan Miense-The Denying of Peter (detail).jpg Oil Painting ID: 44941 | Order the painting 1/2 The Denying of Peter 44942-Molenaer, Jan Miense-The Denying of Peter.jpg Oil Painting ID: 44942 | Order the painting The Duet 44943-Molenaer, Jan Miense-The Duet.jpg Oil Painting ID: 44943 | Order the painting The Music-Makers 44944-Molenaer, Jan Miense-The Music-Makers.jpg Oil Painting ID: 44944 | Order the painting Two Boys and a Girl Making Music 44945-Molenaer, Jan Miense-Two Boys and a Girl Making Music.jpg Oil Painting ID: 44945 | Order the painting Total 1 page, [1] Molenaer, Jan Miense (Nationality : Dutch Baroque Era Painter, ca.1610-1668) Jan Miense Molenaer (1610, Haarlem - buried 19 September 1668, Haarlem), was a Dutch Golden Age genre painter whose style was a precursor to Jan Steen's work during Dutch Golden Age painting. He shared a studio with his wife, Judith Leyster, also a genre painter, as well as a portraitist and painter of still-life. Both Molenaer and Leyster may have been pupils of the successful Dutch painter, Frans Hals. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-842-1.html 2/2.

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17Th Century Self-Portraits Exhibited As the Original "Selfies" by Associated Press, Adapted by Newsela Staff on 10.23.15 Word Count 609 Level 1040L
17th century self-portraits exhibited as the original "selfies" By Associated Press, adapted by Newsela staff on 10.23.15 Word Count 609 Level 1040L A woman admires paintings during a press preview of an exhibition called "Dutch Self-Portraits — Selfies of the Golden Age" at the Mauritshuis museum in The Hague, Netherlands, Oct. 7, 2015. AP/Mike Corder THE HAGUE, Netherlands — A new museum exhibit features "selfies" from the 17th century Dutch Golden Age of art. These days, anybody with a smartphone can snap a selfie in a second and post it on the Internet. Four hundred years ago, the Dutch Golden Age was a highpoint for trade, science, military and art in the Netherlands. Back then, the selfies were called self-portraits. They were painted by highly trained artists who thought long and hard about every detail. A First Of Its Kind The Mauritshuis museum is staging an exhibition focused solely on these 17th century self- portraits. The exhibit highlights the similarities and the differences between modern-day snapshots and historic works of art. The museum's director, Emilie Gordenker, said that this is the first time a museum has exhibited Dutch Golden Age self-portraits like this. The Mauritshuis was eager to tie the paintings to the modern-day selfie phenomenon, she said. The exhibition opened October 8 and runs through January 3. It features 27 self-portraits by artists ranging from Rembrandt van Rijn, who painted dozens of self-portraits, to his student Carel Fabritius and Judith Leyster. Her self-portrait is on loan from the National Gallery of Art in Washington, D.C.
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"MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master.
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HNA Apr 2015 Cover.Indd
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The Rijksmuseum Bulletin
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Children of the Golden Age
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Thesis | December 2013
Master Thesis | December 2013 a Peasant Quest A search for identification, characterization, and contextualization of late seventeenth-century Dutch Peasant Genre Painting (1670-1700) Teun (A.P.M.) Bonenkamp | 3036731 Research Master | Art History of the Low Countries in its European Context Utrecht University | The Netherlands Supervisor | prof. dr. P.A. Hecht Table of contents Introduction ....................................................................................................................................................... 3 Defining the subject ...................................................................................................................................................... 4 Structure ........................................................................................................................................................................... 6 Chapter 1 | Peasant genre painting 1600-1670 .................................................................................... 8 Adriaen Brouwer (1605/06-1638) ....................................................................................................................... 9 Adriaen van Ostade (1610-1685) ........................................................................................................................ 11 In Van Ostade’s footsteps ........................................................................................................................................ 13 Conclusion ....................................................................................................................................................................
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Self-Portrait C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Judith Leyster Dutch, 1609 - 1660 Self-Portrait c. 1630 oil on canvas overall: 74.6 x 65.1 cm (29 3/8 x 25 5/8 in.) framed: 97.5 x 87.6 x 9.2 cm (38 3/8 x 34 1/2 x 3 5/8 in.) Gift of Mr. and Mrs. Robert Woods Bliss 1949.6.1 ENTRY As she turns from her painting of a violin player and gazes smilingly out at the viewer, Judith Leyster manages to assert, in the most offhanded way, that she has mastered a profession traditionally viewed as a masculine domain. Although women drew and painted as amateurs, a professional woman painter was a rarity in Holland in the seventeenth century. Leyster was quite a celebrity even before she painted this self-portrait in about 1630. Her proficiency, even at the tender age of nineteen, had been so remarkable that in 1628 Samuel Ampzing singled her out for praise in his Beschryvinge ende lof der stad Haerlem in Holland some five years before she appears to have become the first woman ever to be admitted as a master in the Haarlem Saint Luke’s Guild. [1] Even after 1636, when she moved to Amsterdam with her husband, the artist Jan Miense Molenaer (c. 1610–1668), her artistic reputation never waned in her native city. In the late 1640s another historian of Haarlem, Theodorus Schrevelius, wrote, “There also have been many experienced women in the field of painting who are still renowned in our time, and who could compete with men.
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72. Dutch Baroque
DOMESTIC LIFE and SURROUNDINGS: DUTCH BAROQUE: (Art of Jan Vermeer and the Dutch Masters) BAROQUE ART: JAN VERMEER and other Dutch Masters Online Links: Johannes Vermeer - Wikipedia Vermeer and the Milkmaid - Metropolitan Museum of Art Vermeer's Glass of Wine – Smarthistory Vermeer's Young Woman with a Water PItcher – Smarthistory Vermeer Master of Light- Documentary narrated by Meryl Streep Jan Steen – Wikipedia The Drawing Lesson, Jan Steen Judith Leyster - Wikipedia Jan Vermeer. Girl Reading a Letter at an Open Window, c. 1657, oil on canvas An innkeeper and art dealer who painted only for local patrons, Jan (Johannes) Vermeer (1632-1675) entered the Delft artists’ guild in 1653. “Of the fewer than forty canvases securely attributed to Vermeer, most are of a similar type- quiet, low-key in color, and asymmetrical but strongly geometric in organization. Vermeer achieved his effects through a consistent architectonic construction of space in which every object adds to the clarity and balance of the composition. An even light from a window often gives solidity to the figures and objects in a room. All emotion is subdued, as Vermeer evokes the stillness of meditation. Even the brushwork is so controlled that it becomes invisible, except when he paints reflected light as tiny droplets of color. Jan Vermeer. The Milkmaid. c. 1657-1658, oil on canvas Despite its traditional title, the picture clearly shows a kitchen or housemaid, a low- ranking indoor servant, rather than a milkmaid who actually milks the cow, in a plain room carefully pouring milk into a squat earthenware container (now commonly known as a "Dutch oven") on a table.
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Self-Portrait As a Lute Player C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Jan Miense Molenaer Dutch, c. 1610 - 1668 Self-Portrait as a Lute Player c. 1637/1638 oil on panel overall: 38.7 x 32.4 cm (15 1/4 x 12 3/4 in.) The Lee and Juliet Folger Fund 2015.20.1 ENTRY In this finely wrought self-portrait, Jan Miense Molenaer sits with a lute balanced high on his left thigh, adjusting a tuning peg with one hand and thumbing a string with the other. His furrowed brow and fixed gaze convey the level of concentration needed to coax just the right note from the instrument. A still-life ensemble of food, instruments, and smoking paraphernalia lies beside him: walnuts cracked on a plate, a small violin known as a pochette resting atop a recorder, and coals in a brazier burning low. Together with the soft lighting, the scene exudes a sense of calm and quiet. Much of the painting’s charm comes from the extraordinary naturalism that Molenaer conveyed through his exquisite attention to detail and deftly handled brush. He modelled his fabrics and metals with carefully blended colors, applying quick highlights at curves and contours to give his materials form and substance, as is evident in his creamy gray ensemble with a broad white collar. Molenaer may have even used the blunt end of his brush to scrape away paint to indicate the individual curls of his moustache and leonine mane. Molenaer’s identity as the sitter is confirmed by comparisons with other known self- portraits.
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2017 Archived Version
Woman Reading a Book by a ca. 1653–54 Window oil on canvas Gabriel Metsu 105 x 90.7 cm (Leiden 1629 – 1667 Amsterdam) signed in dark paint on white letter, left of red plume: “[F?] Gabriel/Metsu” GM-105 Currently on view at: Sterling and Francine Clark Art Institute, Williamstown, MA © 2017 The Leiden Collection Woman Reading a Book by a Window Page 2 of 9 How To Cite Waiboer, Adriaan. "Woman Reading a Book by a Window." 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 Woman Reading a Book by a Window Page 3 of 9 Gabriel Metsu, like a number of other Dutch artists renowned for their Comparative Figures domestic scenes and high-life interiors, began his career painting an entirely different type of subject. Metsu initially painted subjects drawn from the bible or mythology, much as did Nicolaes Maes (1634–93) and Johannes Vermeer (1632–75). Another artist who shifted from one genre to another was Pieter de Hooch (1629–84), who depicted guardroom scenes before switching to domestic subjects. For none of these young masters did the change from one subject type to another occur overnight. Their thematic and stylistic evolution was an ongoing process as they learned to balance their artistic aspirations, inherent strengths, and the changing character of the art market.
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Party Scene-Attributed to Jan Miense MOLENAER (1609-1668)
anticSwiss 30/09/2021 02:37:22 http://www.anticswiss.com Party Scene-Attributed to Jan Miense MOLENAER (1609-1668) SOLD ANTIQUE DEALER Period: 17° secolo -1600 Caudroit Troyes Style: Rinascimento, Luigi XIII +33662098900 Length:105cm Width:87cm Material:olio su tela Price:5800€ DETAILED DESCRIPTION: Beautiful party scene in an interior by one of the masters of the genre. Canvas 90 cm by 70 cm Beautiful frame of 105 cm by 87 cm Jan Miense MOLENAER (1609-1668) Jan Miense Molenaer (circa 1610 in Haarlem, the Netherlands - buried September 19, 1668 in Haarlem) is a Dutch baroque painter (Provinces -Unies) of the golden age, best known for its genre scenes. He was the husband of the woman painter Judith Leyster. Jan Miense Molenaer was born in Haarlem between 1609 and 1610. In the studio of Frans Hals he was trained in painting, along with Adriaen Brouwer and Adriaen Van Ostade. On June 1, 1636, he married the painter Judith Leyster. The same year, the couple moved to Amsterdam where they had four children: Johannes (1637), Jacobus (1639), Helena (1643) and Eva (1646). In 1648, they come to settle in Haarlem, where was born in 1650, their fifth and last child: Constantijn. Jan Miense Molenaer opens a workshop in which he employs a few apprentices. He is also active as an art dealer and in real estate. In 1659, Jan and his wife both fell ill. Jan Miense Molenaer heals, but Judith Leyster was to die three months later. Molenaer dies in Haarlem in 1668 and is buried on 19 September The pictorial style of Jan Miense Molenaer and his wife Judith Leyster are often confused, so it is sometimes difficult to distinguish their works.
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Judith Leyster
The bottom edge and lower left corner are extensively and his followers, including roses, poppies, morning damaged and reconstructed. A small loss is found in the red glories, white lilacs, and stalks of wheat. He also flower at center. Moderate abrasion overall has exposed darker underlayers, altering the tonal balance. The painting incorporates insects: a banded grove snail, two cen was lined in 1969, prior to acquisition. tipedes attacking each other, and a butterfly. In De Heem's still lifes, for example, Vase of Flowers, Provenance: Viscount de Beughem, Brussels; by inheri 1961.6.1, flowers, wheat, and insects are often im tance to Mr. and Mrs. William D. Blair, Washington. bued with symbolic meaning related to the cycle of life or Christian concepts of death and resurrection. THIS DECORATIVE STILL LIFE is one of the few The philosophical concepts underlying De Heem's signed works by this relatively unknown Amster carefully conceived compositions may have been un dam painter. The execution is fairly broad, and the derstood by Van Kouwenbergh, but too little is colors are deep and rich. Van Kouwenbergh has known of his oeuvre to be able to judge this with displayed his floral arrangement around an elaborate certainty. In this painting the rather whimsical earthenware urn situated at the edge of a stone ledge. sculptural element surmounting the urn would seem The composition is organized along a diagonal that to set a tone quite contrary to the weighty messages is not embellished with intricate rhythms of blos De Heem sought to convey. soms or twisting stems.
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