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Thesis, University of Amsterdam 2011 Cover Image: Detail of Willem Van Mieris, the Lute Player, 1711, Panel, 50 X 40.5 Cm, London, the Wallace Collection

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Thesis, University of Amsterdam 2011 Cover Image: Detail of Willem Van Mieris, the Lute Player, 1711, Panel, 50 X 40.5 Cm, London, the Wallace Collection UvA-DARE (Digital Academic Repository) Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age Aono, J. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Aono, J. (2011). Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). 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UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 Imitation and Innovation Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Imitation and Innovation: Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Ph.D. thesis, University of Amsterdam 2011 Cover image: detail of Willem van Mieris, The Lute Player, 1711, panel, 50 x 40.5 cm, London, The Wallace Collection. ©By the kind permission of the Trustees of the Wallace Collection, London. Printer: Optima Grafische Communicatie © Junko Aono No part of this book may be reproduced in any way without the written permission of the author. Imitation and Innovation: Dutch Genre Painting 1680-1750 and its Reception of the Golden Age ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op woensdag 15 juni 2011, te 11:00 uur door Junko Aono geboren te Tokio, Japan Promotiecommissie Promotor: Prof. dr. E.J. Sluijter Overige Leden: Prof. dr. R.E.O. Ekkart Prof. dr. W.E. Franits Prof. dr. F. Grijzenhout Dr. K.J.A. Jonckheere Dr. E.E.P. Kolfin Prof. dr. H.F.K van Nierop Faculteit der Geesteswetenschappen Table of Contents Preface and Acknowledgements 9 Introduction 13 CHAPTER I Confronting the Heritage of the Golden Age: 27 the Situation around Dutch Genre Painting 1680-1750 Introduction 27 1 Painter and collector in transition: the search for a 30 new relationship 2 The collector’s taste: in praise of seventeenth-century 35 Dutch genre painting 3 Popular subject matter of genre painting in 38 eighteenth-century collections 4 The painter’s choice: updating seventeenth-century 44 genre painting Conclusion 49 CHAPTER II Reproducing the Golden Age: Copies after Seventeenth-Century 51 Dutch Genre Painting in the First Half of the Eighteenth Century Introduction 51 1 Commercial misuse of copies: discussion between 54 Johan van Gool and Gerard Hoet 2 Copies as substitutes for seventeenth-century 57 painting 3 The painter’s choice: in search of a favorite painter 61 and subject matter 4 Case study: the candlelight scene as popular subject 67 5 The function of copying: looking back to the Golden 72 Age Conclusion 74 CHAPTER III Emulating the Golden Age: The Painter’s Choice of Motifs and 77 Subject Matter in Dutch Genre Painting of the First Half of the Eighteenth Century Introduction 77 1 The painter’s choice of subject matter 78 1.1. Willem van Mieris and his genre painting 78 1.2. Johan Hendrik van Wassenaer Obdam: a 80 devotee of genre painting 1.3. The case study of A Grocer’s Shop by Willem 83 van Mieris 2 Competing with the “old masters”: 89 pendants by Gerard Dou, Willem van Mieris and Hieronymus van der Mij 3 “Pleasurable enjoyment of dissimilar similarity” 94 Conclusion 98 CHAPTER IV Ennobling Daily Life: A Question of Refinement in Early 101 Eighteenth-Century Dutch Genre Painting Introduction 101 1 Gerard de Lairesse’s attempt to ennoble genre 104 painting 2 The painter’s practice of idealizing figures in genre 110 painting 3 To meet new demands of collectors: seeking ideal 117 versatility Conclusion 123 Conclusion 127 Appendix 133 Catalogue: Painters 1680-1750 147 Summary in English 201 Summary in Dutch 209 List of Illustrations 219 Bibliography 227 Index 253 Illustrations 259 Supplement: CD for text and catalogue illustrations, including those in color. ȱȱ ȱ Early in my masters program at Keio University in Tokyo, a heavy parcel arrived at my home, which had traveled a long way from an antiquary bookshop in Utrecht. This package was not unexpected, as I had ordered several books on seventeenth-century Dutch art that were not available in Japanese libraries. One of the books that I took out of the box with great impatience was Leidse fijnschilders (1988), which, unexpectedly opened up a whole new world to me. The painters’ refined technique, the convincing rendering of materials, the meticulous details and the highly finished surfaces of the pictures amazed me, but more intriguing was the long-lasting pictorial tradition founded by Gerard Dou and perpetuated by numerous painters over the centuries. At that time, I was fascinated by Johannes Vermeer’s work, and I was trying to contextualize his artistic inspiration in relation to his contemporaries. It came as a surprise to me that it was the small pictures of an even earlier artist – Dou – that had such an undeniable impact on the painters of the late seventeenth and early eighteenth centuries. Certain pictorial elements, like motifs, compositional devices and subject matter, that Dou used to convincingly recreate the visible world in two dimensions were endlessly repeated by later painters, reminding later viewers how influential and compelling Dou’s pictorial formula must have been. What made Dou’s work so unique in those days, and why were his fellow painters and subsequent generations of artists so enthusiastically involved in his art? ȱ Youthful enthusiasm and an ambition to find answers to these questions brought me to the Netherlands – first, to Utrecht – in 2000. My interest in Leiden painters soon developed into an inquiry into Dutch genre painting after 1680, a subject that I began to investigate officially in the spring of 2005 with my PhD research at the University of Amsterdam. From the very beginning to the end of this academic journey, I have been most grateful for the company of many inspiring individuals with whom I was honored to share a passion for seventeenth-century Dutch art. First and foremost, I would like to express my profound gratitude to my promotor, Eric Jan Sluijter, whose deep insight in and enthusiasm for painters ŗŖȱ ȱ of “cleyne, subtile ende curieuse dingen” always guided me in the right direction and made me aware of the significance and delight of researching the art of the late seventeenth and early eighteenth centuries. It was his confidence in my work that encouraged me to persevere and complete this exciting but long project. I am also very honored to have had a group of such prominent experts on my dissertation committee and I would therefore like to sincerely thank Rudi Ekkart, Wayne Franits, Frans Grijzenhout, Koenraad Jonckheere, Elmer Kolfin and Henk van Nierop. I am much indebted to all of my colleagues at the Art History Institute of the University of Amsterdam for their generous support and numerous suggestions without which I could never write this dissertation, among them Piet Bakker, Marten Jan Bok, Inge Broekman, Margriet van Eikema Hommes, Jan Piet Filedt Kok, Erna Kok, Arjan de Koomen, Frauke Laarmann, Harm Nijboer, Madelon Simon, Anna Tummers and Thijs Weststeijn. I am also grateful for the help and advice from a variety of specialists, including the staff of the library and other departments of the Rijksbureau voor Kunsthistorische Documentatie in The Hague. I would especially like to thank Albert Blankert, Britta Bode, Edwin Buijsen, Quentin Buvelot, Karolien de Clippel, Sabine E. Craft-Giepmans, Marieke van den Doel, Charles Dumas, Albert J. Elen, Michiel Francken, Jeroen Giltaij, Ursula de Goede-Broug, Franziska Gottwald, Peter Hecht, Megumi Jingaoka, Claus Kemmer, Marijke de Kinkelder, Elly Klück, Paul Knolle, Everhard Korthals Altes, Jan Kosten, Suzanne Laemers, Martine Lambrechtsen, Huigen Leeflang, Eric Löffler, Machteld Löwensteyn, Volker Manuth, Tomas Mascotay, Fred Meijer, Norbert Middelkoop, Hessel Miedema, Megumi Nakajima, Marrigje Rikken, Maki Ryu, Eddy Schavemaker, Vanessa Schmid, Sophie Schnackenburg, Nicolette Sluijter- Seijffert, Miki Sugiura, Dominique Surh, Lyckle de Vries, Adriaan Waiboer and Gregor Weber. During my research, I visited a large number of collections in Europe and the United States. I am thankful that the curators and staff of these institutions gave me the opportunity to do first-hand research on the work of these lesser-known artists. I also owe a great debt of gratitude to a number of Japanese scholars, especially from my early studies at Keio University (Tokyo) and Tohoku University (Miyagi), for giving generously of their time and advice and supporting me as I started my career as an art ȱȱ ȱ ŗŗȱ ȱ historian. I include among them Yasuhiko Iki, Fumio Kobayashi, Tsukasa Kodera, Akira Kofuku, Koichi Motoki, Toshiharu Nakamura, Junko Ninagawa, Masashi Oishi, Takashi Okunishi, Akihiro Ozaki, Yuji Sueyoshi and Koichi Toyama. I am very grateful to Yoriko Kobayashi, who opened my eyes to Dutch art and art history with her inspiring lectures and who showed me a new horizon through her pioneering achievements in this field.
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