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Look Inside 9789462982970.Pdf VISUAL AND MATERIAL CULTURE, 1300-1700 Angela K. Ho Angela K. Ho Creating Distinctions in Dutch Genre Painting Repetition and Invention Creating DistinctionsCreating in Dutch Genre Painting Repetition and InventionAngela K.H. Ho Creating Distinctions in Dutch Genre Painting Creating Distinctions in Dutch Genre Painting Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. Creating Distinctions in Dutch Genre Painting Repetition and Invention Angela K. Ho Amsterdam University Press The publication was published with support from the Historians of Netherlandish Art and the Department of History and Art History at George Mason University. Cover illustration: Gerard ter Borch, The Suitor’s Visit, c. 1658. Oil on canvas, 80 × 75 cm. National Gallery of Art, Andrew W. Mellon Collection, Washington, DC. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 297 0 e-isbn 978 90 4853294 0 doi 10.5117/9789462982970 nur 654 © A.K. Ho/ Amsterdam University Press B.V., Amsterdam 2017 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents List of Illustrations 7 Acknowledgments 15 Introduction 17 1. Key Concepts 29 2. A Niche of One’s Own: Gerrit Dou’s Brand-Building Project 53 3. The Pleasure of Novelty: Gerard ter Borch’s Innovation 93 4. Invention through Repetition: Imitation and Emulation in the Work of Frans van Mieris 139 Epilogue: On Signature Products, Knock-Offs, and Product Lines 183 Notes 191 Bibliography 225 Index 249 List of Illustrations Color Plates Plate 1. Frans van Mieris, The Duet, 1658. Oil on panel, 31.5 × 24.6 cm. Staatliches Museum, Schwerin. Erich Lessing/Art Resource, NY. Plate 2. Gerard ter Borch, A Lady at her Toilet, c. 1660. Oil on canvas, 76.2 × 59.7 cm. Detroit Institute of Arts, Detroit. Founders Society Purchase, Eleanor Clay Ford Fund, General Membership Fund, Endowment Income Fund and Special Activities Fund/ Bridgeman Images. Plate 3. Gerard ter Borch, The Suitor’s Visit, c. 1658. Oil on canvas, 80 × 75 cm. National Gallery of Art, Andrew W. Mellon Collection, Washington, DC. Plate 4. Gerrit Dou, The Grocer’s Shop, signed and dated 1647. Oil on panel, arched top, 38.5 × 29 cm. Musée du Louvre, Paris. Photo: Hervé Lewandowski. © RMN-Grand Palais/Art Resource, NY. Plate 5. Gerrit Dou, The Violin Player, signed and dated 1653. Oil on panel, arched top, 31.7 × 20.3 cm. Princely Collections, Liechtenstein. © LIECHTENSTEIN, The Princely Collections, Vaduz-Vienna/ Scala, Florence/Art Resource, NY. Plate 6. Gerrit Dou, The Violin Player, signed and dated 1665. Oil on panel, arched top, 40 × 29 cm. Gemäldegalerie, Dresden. bpk, Berlin/ Gemäldegalerie Alte Meister, Dresden/Art Resource, NY. Plate 7. Gerard ter Borch, The Music Lesson, c. 1668. Oil on canvas, 86.4 × 70.2 cm. Toledo Museum of Art, Toledo. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey. Photography Incorporated, Toledo. Plate 8. Gerard ter Borch, The Music Party, c. 1668. Oil on panel, 58.1 × 47.3 cm. Cincinnati Art Museum, Cincinnati. Bequest of Mary M. Emery/Bridgeman Images. Plate 9. Gerard ter Borch, Gallant Conversation, c. 1654. Oil on canvas, 71 × 73 cm. Rijksmuseum, Amsterdam. Plate 10. Frans van Mieris, The Cloth Shop, 1660. Oil on panel, 54.5 × 42.7 cm. Kunsthistorisches Museum, Vienna. Erich Lessing/Art Resource, NY. Plate 11. Gerrit Dou, The Trumpeter, c. 1660–65. Oil on panel, 38 × 29 cm. Musée du Louvre, Paris. Erich Lessing/Art Resource, NY. 8 CREATING DISTINCTIONS IN DUTCH GENRE PAINTING Plate 12. Gerrit Dou, The Doctor, signed and dated 1653. Oil on panel, arched top, 49.3 × 36.6 cm. Kunsthistorisches Museum, Vienna. Erich Lessing/Art Resource, NY. Plate 13. Gerard ter Borch, The Introduction, c. 1662. Oil on canvas, 76 × 68 cm. Polesdon Lacey, National Trust, UK. Photo: Derrick E. Witty. National Trust Photo Library/Art Resource, NY. Plate 14. Frans van Mieris, The Doctor’s Visit, 1667. Oil on panel, 44.5 × 31.1 cm. J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Getty’s Open Content Program. Plate 15. Frans van Mieris, The Family Concert, 1675. Oil on panel, 51.8 × 40.2 cm. Galleria degli Uffizi, Florence. Scala/Art Resource, NY. Plate 16. Frans van Mieris, The Letter Writer, 1680. Oil on panel, 25 × 19.5 cm. Rijksmuseum, Amsterdam. Black and White Figures Fig. 1. Gerard ter Borch, The Concert, c. 1657. Oil on panel, 47 × 44 cm. Musée du Louvre, Paris. Erich Lessing/Art Resource, NY. Fig. 2. Jan Steen, A Young Woman Playing a Harpsichord to a Young Man, c. 1659. Oil on panel, 42.3 × 33 cm. The National Gallery, London. © National Gallery, London/Art Resource, NY. Fig. 3. Johannes Vermeer, A Young Woman standing at a Virginal, c. 1670–72. Oil on canvas, 51.7 × 45.2 cm. The National Gallery, London. © National Gallery, London/Art Resource, NY. Fig. 4. Samuel van Hoogstraten, The Slippers, c. 1670. Oil on canvas, 103 × 70 cm. Musée du Louvre, Paris. Erich Lessing/Art Resource, NY. Fig. 5. Willem van Haecht, The Cabinet of Cornelis van der Gheest, 1628. Oil on panel, 100 × 130 cm. Rubenshuis, Antwerp. Scala/Art Resource, NY. Fig. 6. Gerrit van Honthorst, The Merry Fiddler, 1623. Oil on canvas, 108 × 89 cm. Rijksmuseum, Amsterdam. Fig. 7. Rogier van der Weyden, Altarpiece of St. John, 1440s. Oil on panels, each 77 × 48 cm. Staatliche Museen, Gemäldegalerie, Berlin. bpk, Berlin/Gemäldegalerie, Berlin/Jörg P. Anders/Art Resource, NY. Fig. 8. Herman Doomer, Ebony chest, c. 1635–45. Ebony, mother-of-pearl inlay, 220.5 × 206 × 83.5 cm. Rijksmuseum, Amsterdam. Fig. 9. Rembrandt, Still-Life with Two Dead Peacocks and a Girl, c. 1639. Oil on canvas, 145 × 135 cm. Rijksmuseum, Amsterdam. List OF Illustrations 9 Fig. 10. Gerrit Dou, Woman Hanging a Rooster at a Window, 1650. Oil on panel, 26 × 20 cm. Musée du Louvre, Paris. Photo: Hervé Lewandowski. © RMN-Grand Palais/Art Resource. Fig. 11. Rembrandt, Girl at a Window, 1645. Oil on canvas, 81.6 × 66 cm. Dulwich Picture Gallery, Dulwich. © By permission of the Trustees of Dulwich Picture Gallery/Dist. RMN-Grand Palais/Art Resource, NY. Fig. 12. Rembrandt, Girl at a Window, 1651. Oil on canvas, 78 cm × 64 cm. Nationalmuseum, Stockholm. © Nationalmuseum, Stockholm, Sweden/Bridgeman Images. Fig. 13. Rembrandt, Agatha Bas, 1641. Oil on canvas, 105.4 × 83.9 cm. Royal Collection, London. © Her Majesty Queen Elizabeth II, 2016/ Bridgeman Images. Fig. 14. Gerrit Dou, A Girl with a Basket of Fruit at a Window, c. 1657. Oil on panel, 37.5 × 29.1 cm. Waddesdon, The Rothschild Collection (The National Trust), Bequest of James de Rothschild, 1957; acc. no. 2573. Photo © The National Trust, Waddesdon Manor. Fig. 15. Gerrit Dou, Still Life with Candlestick, Pipe, and Pocketwatch, c. 1660. Oil on panel, 43 × 35.5 cm. Gemäldegalerie, Dresden. bpk, Berlin/Gemäldegalerie Alte Meister, Dresden/Hans-Peter Klut/ Art Resource, NY. Fig. 16. Gerrit Dou, Still Life with Ewer, Basin and Cloth, c. 1660. Oil on two panels, each 102 × 42 cm. Musée du Louvre, Paris. Photo: Hervé Lewandowski. © RMN-Grand Palais/Art Resource, NY. Fig. 17. Copy after Francois Duquesnoy, Bacchanal, 19th century. Ivory, 11.5 × 16 cm. Victoria and Albert Museum, London. © Victoria and Albert Museum, London. Fig. 18. Jost Amman, “Der Holzdreschser (The Turner),” from: Eygentliche Beschreibung aller Stände auff Erden … (Ständebuch), by Hans Sachs. Woodcut, Frankfurt am Main, 1568. bpk, Berlin/Art Resource, NY. Fig. 19. Gerrit Dou, The Quack, signed and dated 1652. Oil on panel, 112 × 83 cm. Museum Boijmans Van Beuningen, Rotterdam. Kavaler/Art Resource, NY. Fig. 20. Gerrit Dou, The Poulterer’s Shop, c. 1665–70. Oil on panel, 58 × 46 cm. National Gallery, London. © National Gallery, London/Art Resource, NY. Fig. 21. Willem Buytewech, Merry Company, c. 1622–24. Oil on canvas, 61 × 81 cm. Staatliche Museen, Gemäldegalerie, Berlin. bpk, Berlin/Gemäldegalerie Berlin/Jörg P. Anders/Art Resource, NY. 10 CREATING DISTINCTIONS IN DUTCH GENRE PAINTING Fig. 22. Gerard ter Borch, Young people around a table drinking, smoking and making music, 1632. Pencil, pen in brown ink, 16.1 × 21.3 cm. Rijksprentenkabinet, Rijksmuseum, Amsterdam. Fig. 23. Gerard ter Borch, Portrait of Robert van Voerst, 1635–36.
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