The Artist Eating Oysters in an Interior Signed and Dated 'Jan Steen. / 1660' (Lower Left) Oil on Canvas 41.3/4 X 53.1/8 In

Total Page:16

File Type:pdf, Size:1020Kb

The Artist Eating Oysters in an Interior Signed and Dated 'Jan Steen. / 1660' (Lower Left) Oil on Canvas 41.3/4 X 53.1/8 In Jan Steen (Leiden 1626-1679) 'Easy Come, Easy Go': the artist eating oysters in an interior signed and dated 'Jan Steen. / 1660' (lower left) oil on canvas 41.3/4 x 53.1/8 in. (106.1 x 134.7 cm.) in a carved giltwood frame, presumably commissioned by the 1st Earl of Lonsdale (1807 creation), circa 1810 PROVENANCE: Seger Tierens, The Hague; his sale (+), The Hague, 23 July 1743, lot 175 (420 florins). with Gerard Hoet (1698-1760), The Hague, from whom acquired for 275 florins by Willem Lormier (1682-1758), The Hague; his sale (+), Francken, The Hague, 4 July 1763, lot 251 (950 florins to Pieter Fouquet, on behalf of the following) Captain William Baillie, acting through John Stuart, 3rd Earl of Bute for his son-in-law, Sir James Lowther, 6th Bt., later 1st Earl of Lonsdale (1736-1802), who made payments to Baillie through Lord Bute on 23 August and 8 September 1763 totaling £1,800, and by inheritance to his third cousin, Sir William Lowther, 2nd Bt., and 2nd Viscount Lowther, later 1st Earl of Lonsdale (2nd creation, 1807), Lowther Castle, where recorded in the Breakfast Room (East Wall), in inventories of 1825 ('A Catalogue of Pictures at Lowther Castle' [Lowther Manuscript], as 'Oyster Room'), and 1879 ('Catalogue of Pictures, Statuary &c., at Lowther Castle' [Lowther Manuscript], no. 247, as 'The Oyster Repast with portrait of himself'), and subsequently by descent at Lowther Castle to the latter's great-great-great-grandson James, 7th Earl of Lonsdale. LITERATURE: G. Hoet, Catalogus of naamlyst van schilderyen, met derzelver pryzen, zedert een langen reeks van jaaren zoo in Holland als op andere plaatzen in het openbaar verkogt, benevens een verzameling van lysten van verscheyden nog in wezen zynde cabinetten, The Hague, 1752, p. 109, no. 175. W. Lormier, Catalogus van Schilderyen van den Heer Agent Willem Lormier, The Hague, 1752[?], p. 25, no. 263. J. Smith, A Catalogue Raisonné, etc., London, VI, 1833, p. 2, no. 3; and IX (supplement), 1842, p. 475, no. 5. G.F. Waagen, Treasures of Art in Great Britain, III, London, 1854-1856, p. 262, 'In point of humour, power and transparency, careful and spirited treatment, one of the finest specimens of the master. A view through the door, with a gentleman and a lady, approaches Peter de Hooge in transparency'. T. van Westrheene, Jan Steen: Étude sur l'art en Hollande, The Hague, 1856, p. 128, no. 127. C. Hofstede de Groot, A Catalogue Raisonné, etc., London, I, 1908, p. 232-3, no. 856, 'one of the finest works of Steen'. A. Bredius, Jan Steen, Amsterdam, 1927, no. 37. T.H. Lunsingh Scheurleer, 'De Schoorsteenontwerpen van I. Barbet en hun invloed in Nederland', Oud Holland, LII, 1935, pp. 262-6, fig. 1. C.W. de Groot, Jan Steen: Beeld en Woord, Utrecht, 1952, pp. 113 and 121. W. Martin, Jan Steen, Amsterdam, 1954, pp. 38 and 79, no. 856, pl. 24. R. Keyszelitz, 'Zur Deutung von Jan Steens ''Soo Gewonnen, Soo Verteert''', Zeitschrift für Kunstgeschichte, XXII, 1959, pp. 40-5. E. de Jongh, ed., Tot Lering en Vermaak, exhibition catalogue, Rijksmuseum, Amsterdam, 1976, pp. 102-3, under no. 20, fig. 20b. K. Braun, Alle tot nu toe bekende schilderijen van Jan Steen, Rotterdam, 1980, pp. 100-1, no. 114, illustrated. P.C. Sutton, ed., Masters of Seventeenth-Century Dutch Genre Painting, exhibition catalogue, Philadelphia, 1984, pp. 309-10, under no. 103, fig. 1, note 1, erroneously as 'formerly' in the collection of the Earl of Lonsdale. H.P. Chapman, W.T. Kloek and A.K. Wheelock, Jan Steen: Painter and Storyteller, exhibition catalogue, Washington and Amsterdam, 1996, pp.146-8, under no. 15, fig. 1. M. Westermann, The Amusements of Jan Steen: Comic Painting in the Seventeenth- Century, Zwolle, 1997, p. 40, note 1. J. Giltaij, ed., Senses and Sins: Dutch Painters of Daily Life in the Seventeenth Century, exhibition catalogue, Museum Boijmans Van Beuningen, Rotterdam, published Ostfildern- Ruit, 2004, p. 198, under no. 53, fig. 1, erroneously as 'formerly' in the collection of the Earls of Lonsdale. P. Biesboer and M. Sitt, eds., Vergnüliches Leben - Verbogene Lust: Holländische Gesellschaftsszenen von Frans Hals bis Jan Steen, exhibition catalogue, Zwolle, 2004, p. 208, under no. 54, note 1. W. Kloek, Jan Steen (1626-1679), Amsterdam, 2005, p. 60, figs. 60 and 62. London, British Institution, 1818, no. 118. The Hague, Mauritshuis, Jan Steen, 20 December 1958-15 February 1959, no. 14. EXHIBITED London, Christie's and Manchester, Whitworth Art Gallery, Treasures of the North, 2000, no. 32. Liverpool, Walker Art Gallery, on loan, 2010-2012. GUIDE PRICE: £5,000,000 .
Recommended publications
  • Gabriel Metsu (Leiden 1629 – 1667 Amsterdam)
    Gabriel Metsu (Leiden 1629 – 1667 Amsterdam) How to cite Bakker, Piet. “Gabriel Metsu” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/gabriel- metsu/ (accessed September 28, 2021). 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. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Gabriel Metsu Page 2 of 5 Gabriel Metsu was born sometime in late 1629. His parents were the painter Jacques Metsu (ca. 1588–1629) and the midwife Jacquemijn Garniers (ca. 1590–1651).[1] Before settling in Leiden around 1615, Metsu’s father spent some time in Gouda, earning his living as a painter of patterns for tapestry manufacturers. No work by Jacques is known, nor do paintings attributed to him appear in Leiden inventories.[2] Both of Metsu’s parents came from Southwest Flanders, but when they were still children their families moved to the Dutch Republic. When the couple wed in Leiden in 1625, neither was young and both had previously been married. Jacquemijn’s second husband, Guilliam Fermout (d. ca. 1624) from Dordrecht, had also been a painter. Jacques Metsu never knew his son, for he died eight months before Metsu was born.[3] In 1636 his widow took a fourth husband, Cornelis Bontecraey (d. 1649), an inland water skipper with sufficient means to provide well for Metsu, as well as for his half-brother and two half-sisters—all three from Jacquemijn’s first marriage.
    [Show full text]
  • The Five Senses in Genre Paintings of the Dutch Golden Age
    The Five Senses in Genre Paintings of the Dutch Golden Age Kitsirin Kitisakon+ (Thailand) Abstract This article aims to study one of the most popular themes in 17th-Century Dutch genre paintings - the five senses - in its forms and religious interpretations. Firstly, while two means of representation were used to clearly illustrate the subject, some genre scenes could also be read on a subtle level; this effectively means that such five senses images can be interpreted somewhere between clarity and am- biguity. Secondly, three distinct religious meanings were identified in these genre paintings. Vanity was associated with the theme because the pursuit of pleasure is futile, while sin was believed to be committed via sensory organs. As for the Parable of the Prodigal Son, party scenes alluding to the five senses can be read as relating to the episode of the son having spent all his fortune. Keywords: Five Senses, Genre Painting, Dutch Golden Age, Prodigal Son + Dr. Kitsirin Kitisakon, Lecturer, Visual Arts Dept., Faculty of Fine and Applied Art, Chulalongkorn University, Thailand. The Five Senses… | 125 Introduction In the 16th and 17th Centuries, the five senses had never been more popular as subject matter for graphic art, especially in the Low Countries. Since Nordenfalk (1985), this theme has been occasionally discussed in monographs, catalogues of specific artists, or Dutch genre painting studies. Yet, an analysis of the modes of representation of the five senses seems to have been ignored, and there is a certain lack of fresh interest in their religious interpretations. From this observa- tion, this article aims to firstly examine how the five senses were represented in the Dutch genre paintings of the Golden Age, inspect how artists narrated them; secondly, reinvestigate how they can be religiously interpreted and propose deeper meanings which go beyond realistic appearance.
    [Show full text]
  • Dutch Art, 17Th Century
    Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders.
    [Show full text]
  • Vermeer and the Masters of Genre Painting: Inspiration and Rivalry Wednesday, November 8, 2017 the Exhibition Is Organized by the 4:30 – 7:30 P.M
    vermeer and the masters of genre painting national gallery of art october 22, 2017 – january 21, 2018 AMONG THE MOST ENDURING IM AGES of the Dutch Golden Age are genre paintings, or scenes of daily life, from the third quarter of the seventeenth century. Made during a time of unparalleled inno- vation and prosperity, these exquisite portrayals of refined Dutch society — elegant men and women writing letters, playing music, and tending to their daily rituals — present a genteel world that is extraordinarily appealing. Today, Johannes Vermeer is the most cel- ebrated of these painters thanks to the beauty and tranquility of his images. Yet other masters, among them Gerard ter Borch, Gerrit Dou, Frans van Mieris, and Gabriel Metsu, also created works that are remarkably similar in style, subject matter, and technique. The visual connections between these artists’ paintings suggest a robust atmosphere of innovation and exchange — but to what extent did they inspire each other’s work, and to what extent did they follow their own artistic evolution? This exhibition brings together almost seventy paintings made between about 1655 and 1680 to explore these questions and celebrate the inspiration, rivalry, and artistic evolution of Vermeer and other masters of genre painting. Cover Johannes Vermeer Lady Writing (detail), c. 1665 oil on canvas National Gallery of Art, Washington, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer (cat. 2.3) (opposite) detail fig. 7 Gabriel Metsu Man Writing a Letter Fig. 1 (left) Gerard ter Borch Woman Writing a Letter, c. 1655 – 1656 oil on panel Royal Picture Gallery Mauritshuis, The Hague (cat.
    [Show full text]
  • Prints by Such Artists As Cornelis Cort After Frans Floris (1561) and Jan Saenredam After Hendrick Goltzius (Ca
    © 2021 The Leiden Collection Self-Portrait with a Lute: Sense of Hearing Page 2 of 9 Self-Portrait with a Lute: Sense of ca. 1664 Hearing oil on canvas 23.8 x 19.3 cm Jan Steen signed in dark paint, lower right (Leiden 1626 – 1679 Leiden) corner: “JSteen” (“JS” in ligature) JS-115 How to cite Kloek, Wouter. “Self-Portrait with a Lute: Sense of Hearing” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/self-portrait-with-a-lute-sense-of-hearing/ (accessed September 27, 2021). A PDF of every version of this entry 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. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Self-Portrait with a Lute: Sense of Hearing Page 3 of 9 In this painting Jan Steen has portrayed himself dressed informally, laughing, Comparative Figures and playing the lute. He wears a large gray coat, with ample room for his shirt sleeves, and red leggings. A songbook, to which he pays no attention, lies on a table at the left, which is the only piece of furniture to be seen. Although this small self-portrait is difficult to date, it is probable that Steen executed it in Haarlem around 1664. The definition of the face is comparable to that of the fool in The Rhetoricians in Brussels, which dates from the same period.[1] A comparison between the Leiden Collection painting and Self-Portrait Playing the Lute in the Thyssen-Bornemisza Museum in Madrid (fig 1), painted around 1666–68, reveals two striking differences.[2] First, in the Fig 1.
    [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]
  • Chapman CV 2020
    H. PERRY CHAPMAN Department of Art History tel (302) 831-2243 University of Delaware dept (302) 831-8415 318 Old College [email protected] Newark, DE 19716 EDUCATION Princeton University, M.F.A., 1978; Ph.D., 1983. Dissertation: “The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits.” (advisers: John Rupert Martin and Egbert Haverkamp- Begemann) Swarthmore College, B.A., High Honors, Phi Beta Kappa, 1975. APPOINTMENTS University of Delaware, Department of Art History, Instructor, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-; Interim Chair, 2014-15. Institute of Fine Arts, New York University, Lecturer, Spring 2010. The Art Bulletin, Editor Designate, 1999-2000; Editor-in-Chief, 2000-2004. The American University, Department of Art History, Professorial Lecturer, Spring 1982. Swarthmore College, Art Department, Instructor, Spring 1981. CURATORIAL EXPERIENCE Denver Art Museum and The Newark Museum, Consultant for exhibition Art & Home: Dutch Interiors in the Age of Rembrandt, held in 2001-2002. The National Gallery of Art, Washington, DC, Guest Co-Curator for exhibition Jan Steen: Painter and Storyteller, held at the National Gallery and the Rijksmuseum, Amsterdam, in 1996-1997. FELLOWSHIPS, GRANTS AND AWARDS University of Delaware, Institute for Global Studies, International Travel Award, 2014. Summer Teachers Institute in Technical Art History (STITAH) 2012, Yale University, July 2012 (funded by the Samuel H. Kress Foundation), participant. University of Delaware, General University Research Grant, 2012. John Simon Guggenheim Foundation Fellow, 2004 (held in 2006). Center for Advanced Study in the Visual Arts, Samuel H. Kress Senior Fellow, 2004-2005. National Endowment for the Humanities, Fellowship for University Teachers, 1993-1994.
    [Show full text]
  • Children of the Golden Age
    CHILDREN OF THE GOLDEN AGE JAN STEEN AND THE PORTRAYAL! OF YOUTH SEBASTIAN ARYANA UNIVERSITY OF AMSTERDAM ! CHILDREN OF THE GOLDEN AGE JAN STEEN AND THE PORTRAYAL OF YOUTH ! SEBASTIAN ARYANA UNIVERSITY OF AMSTERDAM 2015 TABLE OF CONTENTS PREFACE . i 1. INTRODUCTION . 1 2. HISTORICITY . 7 3. ARTISTIC DIALOGUE . .15 4. CHILDREN IN ART . .19 5. COMIC TRADITION . 25 6. LIFE AND TRAINING OF JAN STEEN . 35 7. THE PUZZLE OF MOLENAER . 40 8. DIFFERENCES IN CHILDREN . 45 9. DISTORTED REALITIES . 51 10. CONCLUSION . 56 CATALOGUE . 66 BIBLIOGRAPHY . 86 PREFACE Every research begins with a spark of imagination. For me, it was Johannes Vermeer’s Little Street in Delft. It was the sheer quietness of the picture, the stillness of the moment, the randomness of the scene, and the simplicity of the whole thing. Yet, there is enough in the picture to have fed scholarly research for decades, to fill pages of books, and to gather huge crowds in front of it at the Rijksmuseum in Amsterdam. During the last year of my undergraduate studies at the University of Washington, the seemingly realism of the seventeen-century Dutch paintings made me curious. But I had to look for my own niche in the field of Dutch Art History, which ranges from portraiture to comics to landscape and seascape. The likes of Vermeer and Rembrandt are over-studied, and the vastness of literature available on them, makes the challenge less appealing. It was in 2010 when I began to look at the “comical” pictures of seventeenth-century Dutch art to find a topic to write my undergraduate research paper on.
    [Show full text]
  • The Proceeds of Prosperity: Images of Domestic Money Management and Exchange in Dutch Genre Painting in the Middle of the Seventeenth Century
    THE PROCEEDS OF PROSPERITY: IMAGES OF DOMESTIC MONEY MANAGEMENT AND EXCHANGE IN DUTCH GENRE PAINTING IN THE MIDDLE OF THE SEVENTEENTH CENTURY by Copyright 2009 Roberta J. Pokphanh 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 _______________________________________ Linda Stone-Ferrier, PhD, Chairperson _______________________________________ Stephen Goddard, PhD _______________________________________ David Cateforis, PhD _______________________________________ Joey Sprague, PhD _______________________________________ Mohamed El Hodiri Date defended: April 17, 2009 ii The Dissertation Committee for Roberta J. Pokphanh certifies that this is the approved version of the following dissertation: THE PROCEEDS OF PROSPERITY: IMAGES OF DOMESTIC MONEY MANAGEMENT AND EXCHANGE IN DUTCH GENRE PAINTING IN THE MIDDLE OF THE SEVENTEENTH CENTURY Committee: _______________________________________ Linda Stone-Ferrier, PhD, Chairperson _______________________________________ Stephen Goddard, PhD _______________________________________ David Cateforis, PhD _______________________________________ Joey Sprague, PhD _______________________________________ Mohamed El Hodiri Date approved: April 17, 2009 iii DEDICATION This dissertation is dedicated to those who believed I could complete it. Their encouragement, occasional cheerleading, and concern reinforced my efforts. A special recognition goes to my children, who
    [Show full text]
  • 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.
    [Show full text]
  • Jan Steen's Ground Layers Analysed with Principal Component Analysis
    Albrecht et al. Herit Sci (2019) 7:53 https://doi.org/10.1186/s40494-019-0295-5 RESEARCH ARTICLE Open Access Jan Steen’s ground layers analysed with Principal Component Analysis Marya Albrecht1* , Onno de Noord1,2, Sabrina Meloni1*, Annelies van Loon1,3 and Ralph Haswell4 Abstract In-depth technical and art historical research into Jan Steen’s (ca. 1626–1679) oeuvre has been a focus at the Mau- ritshuis since 2012, as part of the Partners in Science collaboration with Shell. The aim of this project is to shed light on the chronology of Steen’s oeuvre based on the materials he used, since only 10% of his circa 450 works are dated. Steen worked in diferent cities within the Netherlands (Haarlem, The Hague, Delft, Leiden and Warmond), each with a distinct artistic community. So far 39 paintings from the Mauritshuis and many other collections in and outside the Netherlands have been analysed. This paper focuses on the ground layers in Steen’s paintings. Cross sections were taken of each painting and analysed using SEM-EDX. Principal Component Analysis (PCA) on the resulting dataset was used to fnd correlations between variables and clustering of samples. Special versions of PCA were explored to analyse pigment identifcations and to allow data fusion of this binary data with the quantitative elemental analyses, which is not trivial with normal PCA. The statistical analyses allowed us to group paintings linking them to the difer- ent cities where Steen worked and to see outliers in terms of the ground layer composition. Interestingly, the present survey also revealed that apart from commercially prepared grounds, Steen also used grounds prepared in his own studio.
    [Show full text]
  • Paintings As Information
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1985 Paintings as Information: The Anthropology of Images: A Consideration of Late Sixteenth and Seventeenth Century Netherlandish Painting in Relation to Foodways and Historical Archeology Melissa Payne College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the Social and Cultural Anthropology Commons Recommended Citation Payne, Melissa, "Paintings as Information: The Anthropology of Images: A Consideration of Late Sixteenth and Seventeenth Century Netherlandish Painting in Relation to Foodways and Historical Archeology" (1985). Dissertations, Theses, and Masters Projects. Paper 1539625293. https://dx.doi.org/doi:10.21220/s2-5t4z-7d60 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. PAINTINGS AS INFORMATION: THE ANTHROPOLOGY OF IMAGES A Consideration of Late Sixteenth and Seventeenth Century Netherlandish Painting in Relation to Foodways and Historical Archeology A Thesis Presented to The Faculty of the Department of Anthropology The College of William and Mary In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Melissa Payne 1985 APPROVAL .SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, December 1985 Norman Bark a, Chairman. £ M 4 J 1 a& Rita Aright Marley Brown Colonial Riliiamsburg Foundation ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ...............................
    [Show full text]