And the Masters of Genre Painting VERMEER and the MASTERS of GENRE PAINTING

Total Page:16

File Type:pdf, Size:1020Kb

And the Masters of Genre Painting VERMEER and the MASTERS of GENRE PAINTING THE DUTCH GOLDEN AGE AT THE LOUVRE Vermeer and the Masters of Genre Painting VERMEER AND THE MASTERS OF GENRE PAINTING February 22 to May 22, 2017, PUBLICATION THE DUTCH GOLDEN AGE AT THE LOUVRE in the Hall Napoléon of the Louvre Exhibition catalog, co-published by the Musée “Masterpieces of the Leiden Collection. du Louvre/Somogy, 448 pages, The Age of Rembrandt,” February 22 to 300 illustrations, €39 May 22, 2017, Sully rooms. Curated by This exhibition has been organized by the Blaise Ducos, Department of Painting, Musée Musée du Louvre, Paris, the National Gallery du Louvre. of Ireland, Dublin, and the National Gallery of DOCUMENTARY Publication Exhibition catalog, co-published Art, Washington D.C. It enjoys the support of Vermeer’s Revenge, directed by Jean-Pierre by the Musée du Louvre/Somogy, 80 pages, primary sponsor Kinoshita Group as well as and Guillaume Cottet. Jointly produced by: 40 illustrations, €12. the support of ING Bank France and Deloitte. ARTE France, Martange Production, Soho Online catalog at It will be on view at the National Gallery of Moon Pictures, Musée du Louvre. www.theleidencollection.com. Ireland in Dublin from June 17 to September 17, 2017 and at the National EXHIBITION EVENTS Gallery of Art in Washington D.C. from Lectures in the Louvre Auditorium “Drawing the Everyday. Holland in the October 22, 2017 to January 21, 2018. - February 23 at 12:30 p.m. and 6:30 p.m., Golden Age” presentation of the exhibition by Blaise Ducos. March 16, 2017 to June 12, 2017, Rotonde Sully Curated by Emmanuelle Brugerolles, CURATORIAL STAFF - March 2, 9, 16, and 30 (Thursdays) at Curator of Drawings, Beaux-Arts de Paris and Blaise Ducos, Curator, Department of 6:30 p.m., Understanding Vermeer, ―The Olivia Savatier Sjöholm, Curator, Department Paintings, Musée du Louvre. Adriaan E. Sphinx of Delft,‖ a series of four lectures: of Prints and Drawings, Musée du Louvre. Waiboer, Curator, National Gallery of Ireland, From ―Drolleries‖ to Interior Scenes: The Birth Publication Exhibition catalog, co-published Dublin. and Beginnings of Dutch Genre Painting by by the Musée du Louvre/Liénart Arthur K. Wheelock, Jr., Curator, National Sabine van Sprang (March 2). 208 pages, 250 illustrations, €29. Gallery of Art, Washington D.C. ―The Fabric of Society.‖ Fashion in the Republic (1650-1680), by Bianca du Mortier Lecture on March 24 at 12:30 p.m., (March 9). presentation of the exhibition with the curators HOURS Johannes Vermeer’s Milkmaid, by Blaise in the Louvre Auditorium. 9:00 a.m. to 6:00 p.m. except Tuesday. Night Ducos, Musée du Louvre (March 16). opening until 9:45 p.m. on Wednesdays and Vermeer Forgeries, by Jonathan Lopez Fridays. SEE ALSO (March 30). “Valentin de Boulogne (1591-1632). Beyond Caravaggio” February 22 to ADMISSION FOR MORE INFORMATION May 22, 2017, Musée du Louvre, Hall Single museum admission: €15. Daniel Arrasse, Vermeer’s Ambition, Éditions Napoléon To purchase tickets: at the auditorium desk/by Adam Biro, 2001. Further Reading: Valentin de Boulogne. phone: 01 40 20 55 00/online at: Jan Blanc, Vermeer. The Creation of Glory, Beyond Caravaggio, Dossier de l’Art issue www.fnac.com Éditions Citadelles & Mazenod, 2014. 246, February 2017. Gary Schwartz, Vermeer in Detail, Éditions INFORMATION Hazan, 2017. 01 40 20 55 55, Monday to Friday from Gabriel Metsu and Dutch Genre Painting, 9:00 a.m. to 7:00 p.m., or at www.louvre.fr Dossier de l’Art issue 181, January 2011. CONTENTS THE DUTCH 04 The Modernity of the Golden Age at the Louvre GOLDEN AGE Interview with Blaise Ducos, Curator of the Department of Paintings of the Musée du AT THE LOUVRE Louvre, curator of the exhibition. Interview by Laurence Caillaud 10 AN ICON, The Milkmaid By Alexis Merle du Bourg 54 Richelieu Wing, 12 TIMELINE The Netherlands during the Golden Age Painting of the Northern School in All Its Splendor 14 Vermeer, or the Two Sphinxes of Delft By Laurence Caillaud By Jan Blanc, Professor of Art History of the Modern Period, Université de Genève 22 SPOTLIGHT ON A WORK The Lacemaker By Jan Blanc 56 The Treasures of the Leiden Collection Unveiled 24 A History of Genre Painting By Laurence Caillaud By Olivier Zeder, Head Conservator, Director of Conservation Studies, Institut national du patrimoine 60 The Everyday as 34 Themes and Motifs of Daily Life Viewed by Draftsmen By Alexis Merle du Bourg By Emmanuelle Brugerolles, Curator of Drawings, Beaux-Arts de Paris, Curator of the exhibition ON THE COVER Johannes Vermeer, A Lady Writing a Letter, ca. 1665-67. Oil on panel, 45 x 39.9 cm. Washington D.C., National Gallery of Art Photo courtesy of the National Gallery of Art, Washington D.C. ON THE BACK COVER Samuel van Hoogstraten, View of an Interior (―The Slippers‖), ca. 1655-62. Oil on canvas, 103 x 71 cm Paris, Musée du Louvre Press Photo Service © RMN (musée du Louvre) – T. Querrec L’OBJET D’ART SPECIAL EDITION is published by Éditions Faton, S.A.S. (simplified joint-stock company) with a capital of €343,860, 25 rue Berbisey, CS 71769, 21017 DIJON CEDEX SUBSCRIPTIONS AND ORDERING 1 rue des Artisans, CS 50090, 21803 Quetigny Cedex, Tel. 03 80 48 98 45, Fax 03 80 48 98 46, [email protected] DIRECTOR OF PUBLISHING Jeanne Faton EDITORIAL STAFF Jeanne Faton, Laurence Caillaud, Mathilde Ouvrard ARTISTIC DIRECTORS Bernard Babin, Laure Personnier IMAGE PROCESSING Emmanuel Calheiros DISTRIBUTION IN BELGIUM Tondeur Diffusion, 9 av. Van Kalken, B- 1070 Brussels. Tel. 02 555 02 17. Account no. 210-0402415-14. [email protected] SUBSCRIPTIONS IN SWITZERLAND Edigroup SA - Case postale 393 - CH-1225 Chêne- LEFT PAGE Bourg. Tel. 00 41 22/860 84 01. [email protected] MEDIA RELATIONS [email protected] ADVERTISING ANAT Régie, 29 rue de Miromesnil, 75008 Paris, Tel. 01 43 Johannes Vermeer, The Milkmaid, 12 38 19, Fax 01 43 12 38 18, [email protected] Printed in France by IMPRIMERIE DE ca. 1657-58. Detail CHAMPAGNE in Langres. Joint Committee: 0419 K 84745. ISSN: 2426-0096. © 2017, Press Photo Service Éditions Faton SAS. The reproduction of the text or images published in this issue is © The Rijksmuseum, Amsterdam prohibited. The titles, introductions, and subheadings are written by the editorial staff. VERMEER AND THE MASTERS OF GENRE PAINTING THE MODERNITY OF THE GOLDEN AGE AT THE LOUVRE Vermeer, the tutelary figure of Dutch genre painting, is being honored at the Louvre, where viewers can see 12 of his paintings exhibited together. However, the reason why viewers should see this exhibition goes well beyond this tour de force: it lies in the assembling of works around these paintings by numerous Dutch painters from the second half of the 17th century who, like Vermeer, brought genre painting to its zenith, and in the reevaluation of Vermeer’s contribution to the movement. This exposition, a collaborative effort between the Musée du Louvre, the National Gallery of Ireland, and the National Gallery of Art in Washington D.C., investigates within the artists’ studios by using the works both as proof of and witnesses to the bonds and exchanges that connected them. Interview with Blaise Ducos, Curator of the Department of Paintings of the Musée du Louvre, curator of the exhibition. Interview by Laurence Caillaud This exhibition attempts to retrace the In this very specific case, when we talk Vermeer was primarily a genre scene many relationships that formed among about genre painting, it should not be painter, but the exhibition is not solely the Dutch genre painters of the 17th considered a representation of every- dedicated to him, hence the absence of century, of which Vermeer was a day life. Quite the contrary. The scenes famous works like Girl with a Pearl Earring member. What does elegant genre are quite posed, thought-out, and and View of Delft (both at Mauritshuis in painting mean, exactly? theatricalized with luxurious props. For The Hague), which are not a part of this Genre painting was a very localized and the elite of the young Dutch Republic, it category. brief historical phenomenon. Between was a means for asserting themselves around 1650 and 1680, at the economic in the face of a world dominated by What elements have been used in apex of the Dutch Republic, a very monarchies. This exhibition is based on order to retrace the history of these sophisticated style of painting was the intuition that the active artistic connections between artists and to developed called the elegant genre scene, networks that existed on a local scale in find out how their ideas circulated? the most well-known practitioners of which Delft and that were studied in 20011 We do not have written records of the trips were Gerrit Dou, Caspar Netscher, Frans also existed on a national scale. In that the painters took from one city to van Mieris, Gabriel Metsu, Gerard ter other words, in Deventer, Amsterdam, another. Borch... and Johannes Vermeer, who was Rotterdam, The Hague, and in Delft, not the dominant figure at the time. artists were working together and knew what their counterparts were painting. 4 Johannes Vermeer, Woman with a Pearl Necklace, 1663-64. Oil on canvas, 51.2 x 45.1 cm Berlin, Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Gemäldegalerie © BPK, Berlin, dist. RMN – J. P. Anders 5 ―Vermeer worked through subtraction. He removed, he stripped away, he painted the essentials, bareness, space‖ In reality, the documents that we have are Given the similar chronology—many of The relationship between Vermeer and his the paintings themselves, because certain these paintings are not dated—it would colleagues is a part of this variety.
Recommended publications
  • THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
    THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline:
    [Show full text]
  • Art from the Ancient Mediterranean and Europe Before 1850 Gallery 15
    Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 - 5 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses. At this point in Domenichino’s career he wanted more commissions for narrative scenes and knew he needed to demonstrate his skill in depicting human action.
    [Show full text]
  • Il Tempo Di Caravaggio. Capolavori Della Collezione
    COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca.
    [Show full text]
  • Eighteenth-Century English and French Landscape Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
    [Show full text]
  • Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
    ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’.
    [Show full text]
  • Adriaen Van Ostade 1646/1648 Oil on Canvas Overall: 94 X 75 Cm (37 X 29 1/2 In.) Andrew W
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Frans Hals Dutch, c. 1582/1583 - 1666 Adriaen van Ostade 1646/1648 oil on canvas overall: 94 x 75 cm (37 x 29 1/2 in.) Andrew W. Mellon Collection 1937.1.70 ENTRY This masterful painting by Frans Hals, which is neither signed nor dated, is unrecorded prior to 1919, when it appeared at a London auction as a self-portrait by the Dutch Italianate painter Nicolaes Pietersz Berchem (Dutch, 1620 - 1683). [1] The identity of the sitter as Berchem cannot be sustained any more than can the attribution to that artist. Berchem’s self-portrait drawing of about 1660 represents a heavier-set person with a more rounded face than that seen in this portrait [fig. 1]. Instead, the artist whom Hals has portrayed here is Adriaen van Ostade (Dutch, 1610 - 1685), the renowned Haarlem painter of rural life. The connection between this painting and Ostade was made by Claus Grimm, who compared this image to two established likenesses of the artist. [2] The first is a small-scale self-portrait in the background of Van Ostade's group portrait of the De Goyer family (Museum Bredius, The Hague) of about 1650. [3] An even more striking comparison is Jacob Gole’s mezzotint portrait of Van Ostade that was executed after a lost painting by the latter’s pupil Cornelis Dusart (Dutch, 1660 - 1704) [fig. 2]. [4] As Eduard Trautscholdt recognized, Dusart must have based his portrait on an earlier representation of the artist; Dusart—who was born in 1660, when his master was fifty years old—depicted Van Ostade as a considerably younger man than he could ever have known.
    [Show full text]
  • Taking Dutch Art Seriously: Now and Next? Author(S): MARIËT WESTERMANN Source: Studies in the History of Art, Vol
    National Gallery of Art Taking Dutch Art Seriously: Now and Next? Author(s): MARIËT WESTERMANN Source: Studies in the History of Art, Vol. 74, Symposium Papers LI: Dialogues in Art History, from Mesopotamian to Modern: Readings for a New Century (2009), pp. 258-270 Published by: National Gallery of Art Stable URL: https://www.jstor.org/stable/42622727 Accessed: 11-04-2020 11:41 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/42622727?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms National Gallery of Art is collaborating with JSTOR to digitize, preserve and extend access to Studies in the History of Art This content downloaded from 85.72.204.160 on Sat, 11 Apr 2020 11:41:16 UTC All use subject to https://about.jstor.org/terms /';-=09 )(8* =-0/'] This content downloaded from 85.72.204.160 on Sat, 11 Apr 2020 11:41:16 UTC All use subject to https://about.jstor.org/terms MARIËT WESTERMANN New York University Taking Dutch Art Seriously : Now and Nextl vative, staid, respectable discipline, some- posium with mounting anxiety.
    [Show full text]
  • SAINT PRAXEDIS by JOHANNES VERMEER - One of Only Two Paintings by the Artist in Private Hands
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: Monday, 9 June 2014 SAINT PRAXEDIS BY JOHANNES VERMEER - One of only two paintings by the artist in private hands - LEADS THE SALE OF WORKS FROM THE BARBARA PIASECKA JOHNSON COLLECTION WITH PROCEEDS TO BENEFIT THE BARBARA PIASECKA JOHNSON FOUNDATION AT CHRISTIE’S IN JULY London – Christie’s is pleased to announce that works from The Barbara Piasecka Johnson Collection with Proceeds to Benefit the Barbara Piasecka Johnson Foundation will be offered at Christie’s London from 8 to 17 July. The star lot is the famous painting of Saint Praxedis by Johannes Vermeer of Delft (1632-1675), from 1655, which is the earliest dated picture by the artist and one of only two from his rare oeuvre to remain in private hands (estimate: £6-8 million, illustrated above). The results of recent material technical analysis conducted by the Rijksmuseum in association with the Free University, Amsterdam endorses Vermeer’s authorship of the picture. They establish not only that the lead white used in the paint is consistent with Dutch painting and is incontrovertibly not Italian; they also reveal a precise match with another established early painting by Vermeer - Diana and her Companions, in The Mauritshuis, The Hague. The match even suggests that the exact same batch of paint was used for both paintings. This magnificent painting offers one of the rarest and most alluring opportunities for collectors and institutions this season. Please click here for the full catalogue note on this work. An art connoisseur whose dedicated collecting was underpinned by art historical training in Poland, where she was born, Barbara Piasecka Johnson (1937- 2013) was also a humanitarian and philanthropist.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience.
    [Show full text]
  • 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]
  • Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2-24-2014 Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 David Beeler University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the History Commons Scholar Commons Citation Beeler, David, "Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/4983 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 by David Beeler A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Annette Cozzi, Ph.D. Cornelis “Kees” Boterbloem, Ph.D. Brendan Cook, Ph.D. Date of Approval: February 24, 2014 Keywords: colonialism, foreign, otherness, maidservant, Burgher, mercenary Copyright © 2014, David Beeler Table of Contents List of Figures .................................................................................................................................ii
    [Show full text]
  • The Five Senses in Painting
    Exhibition press release The five senses in painting Villa Vauban – Luxembourg City Art Museum 19 March > 26 June 2016 The five human senses – taste, smell, sight, hearing and touch – belong to the most varied and most appealing subjects of European painting. Whereas in Antiquity and the Middle Ages, the senses had rather negative connotations, being considered deceitful or as a promotion of sin, their perception changed with the increasing scientification of thought in the 17th century. The senses were initially represented symbolically or allegorically. The Dutch painting of the Golden Age gradually replaced the initially symbolical or allegorical representation of the senses with narrative genre scenes. The exhibition presents painting and printed graphics of the 17th to 19th centuries in the form of thematic groups of works. Many international loans from around 20 European museums have been supplemented with the collections of Villa Vauban. A first group of works concentrates on the diversity of allegorical representations of the five senses in Flemish and Dutch 17th-century painting. Large-format allegories and small cabinet paintings with picture cycles by Old Masters like Cornelis de Vos, Adriaen van Ostade, Jan Miense Molenaer, Barent Fabritius, Ambrosius Francken the Younger and Herman van Aldewereld are shown. The second group of works is dedicated to French still-life painting, blossoming since the 1620s/30s, and its approach to the theme of the five senses. Painters like Jacques Linard and Louise Moillon resided in Paris and were associated with a group of Protestant artists that had specialised in this genre. The section also includes a painting of the important Strasbourg still-life master Sebastian Stoskopff (1597-1657).
    [Show full text]