Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, Through January 19, 2014

Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, through January 19, 2014 The Frick Collection, New York PRESS IMAGE LIST Digital images are available for publicity purposes; please contact the Press Office at 212.547.6844 or [email protected]. 1. Frans Hals (1581/1585–1666) Portrait of Jacob Olycan (1596–1638), 1625 Oil on canvas 124.8 x 97.5 cm Mauritshuis, The Hague 2. Frans Hals (1581/1585–1666) Portrait of Aletta Hanemans (1606–1653), 1625 Oil on canvas 123.8 x 98.3 cm Mauritshuis, The Hague 3. Rembrandt van Rijn (1606–1669) Simeon’s Song of Praise, 1631 Oil on panel (rounded at the upper corners) 60.9 x 47.9 cm Mauritshuis, The Hague 4. Pieter Claesz Vanitas Still Life, 1630 Oil on panel 39.5 x 56 cm Mauritshuis, The Hague 5. Rembrandt van Rijn (1606–1669) “Tronie” of a Man with a Feathered Beret, c. 1635 Oil on panel 62.5 x 47 cm Mauritshuis, The Hague 6. Rembrandt van Rijn (1606–1669) Susanna, 1636 Oil on panel 47.4 x 38.6 cm Mauritshuis, The Hague 7. Nicolaes Maes The Old Lacemaker, c. 1655 Oil on panel 37.5 x 35 cm Mauritshuis, The Hague 8. Carel Fabritius (1622–1654) The Goldfinch, 1654 Oil on panel 33.5 x 22.8 cm Mauritshuis, The Hague 9. Gerard ter Borch (1617–1681) Woman Writing a Letter, c. 1655 Oil on panel 39 x 29.5 cm Mauritshuis, The Hague 10. Jan Steen (1626–1679) Girl Eating Oysters, c. 1658–60 Oil on panel (rounded at the top) 20.5 x 14.5 cm Mauritshuis, The Hague 11. Jan Steen (1626–1679) ‘The Way you Hear It, Is the Way You Sing It’, c. 1665 Oil on canvas 134 x 163 cm Mauritshuis, The Hague 12. Johannes Vermeer (1632–1675) Girl with a Pearl Earring, c. 1665 Oil on canvas 44.5 x 39 cm Mauritshuis, The Hague 13. Rembrandt van Rijn (1606–1669) Portrait of an Elderly Man, 1667 Oil on canvas 81.9 x 67.7 cm Mauritshuis, The Hague 14. Jacob van Ruisdael (1628/1629–1682) View of Haarlem with Bleaching Grounds, c. 1670–75 Oil on canvas 55.5 x 62 cm Mauritshuis, The Hague 15. Adriaen Coorte Still Life with Five Apricots, 1704 Oil on canvas 30 x 23.5 cm Mauritshuis, The Hague These jpegs are on loan exclusively for publicity purposes in conjunction with this exhibition. Please return any distributed disks to the Media Relations & Marketing Department/The Frick Collection/1 East 70th Street/New York, NY 10021. Permission for any other use of this material must be sought separately. * These photo materials may not be lent or used again for publication without prior permission. * Reproductions may not run off the edge of the paper. * Reproductions may not be superimposed with type matter or in any way defaced or altered. * The word “detail” must appear in the caption with the complete credit line in the event that a detail is used. * Required for publication: with each image, the collection and photo credits as indicated above must be included in print. * Publisher shall furnish a complimentary copy of the issue of the periodical or book in which the reproduction(s) appears. .

Copy Link

Recommended publications

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]
The National Gallery Immunity from Seizure
THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Nicolaes Maes: Dutch Master of the Golden Age 22 February 2020 – 30 June 2020 (Extension dates to be confirmed) The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Nicolaes Maes: Dutch Master of the Golden Age 22 February 2020 – 30 June 2020 (Extension dates to be confirmed) The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Nicolaes Maes: Dutch Master of the Golden Age. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Nicolaes Maes: Dutch Master of the Golden Age 22 February 2020 – 30 June 2020 (Extension dates to be confirmed) Protection under the Act is sought for the objects listed below: Nicolaes Maes (1634 - 1693) © Agnes Etherington Art Centre, Queen’s University, Kingston, Canada / Photo: Bernard Clark X10056 Abraham's Sacrifice about 1653-54 Place of manufacture: Netherlands Oil on canvas Object dimensions: 113 × 91.5 cm Agnes Etherington Art Centre, Queen’s University, Kingston, Canada.
[Show full text]
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
[Show full text]
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before Heading
FRANS VAN MIERIS the Elder (1635 – Leiden – 1681) A Self-portrait of the Artist, bust-length, wearing a Turban crowned with a Feather, and a fur- trimmed Robe On panel, oval, 4½ x 3½ ins. (11 x 8.2 cm) Provenance: Jan van Beuningen, Amsterdam From whom purchased by Pieter de la Court van der Voort (1664-1739), Amsterdam, before 1731, for 120 Florins (“door myn vaader gekofft van Jan van Beuningen tot Amsterdam”) In Pieter de la Court van der Voort’s inventory of 1731i His son Allard de la Court van der Voort, and in his inventories of 1739ii and 1749iii His widow, Catherine de la Court van de Voort-Backer Her deceased sale, Leiden, Sam. and Joh. Luchtmans, 8 September 1766, lot 23, for 470 Florins to De Winter Gottfried Winkler, Leipzig, by 1768 Probably anonymous sale, “Twee voornamen Liefhebbers” (two distinguished amateurs), Leiden, Delfos, 26 August 1788, lot 85, (as on copper), sold for f. 65.5 to Van de Vinne M. Duval, St. Petersburg (?) and Geneva, by 1812 His sale, London, Phillips, 12 May 1846, lot 42 (as a self-portrait of the artist), sold for £525 Anonymous sale, London, Christie’s, 21 February 1903, lot 80, (as a self-portrait of the artist) Max and Fanny Steinthal, Charlottenburg, Berlin, by 1909, probably acquired in 1903 Thence by descent to the previous owner, Private Collection Belgium, 2012 Exhibited: Berlin, Köningliche Kunstakademie, Illustrierter Katalog der Ausstellung von Bildnissen des fünfzehnten bis achtzehnten Jahrhunderts aus dem Privatbesitz der Mitglieder des Vereins, 31 March – 30 April 1909, cat.
[Show full text]
The Engagement of Carel Fabritius's Goldfinch of 1654 with the Dutch
Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) The Engagement of Carel Fabritius’s Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange Linda Stone-Ferrier [email protected] Recommended Citation: Linda Stone-Ferrier, “The Engagement of Carel Fabritius’ Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange,” JHNA 8:1 (Winter 2016), DOI: 10.5092/jhna.2016.8.1.5 Available at http://www.jhna.org/index.php/vol-8-1-2016/325-stone-ferrier Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 THE ENGAGEMENT OF CAREL FABRITIUS’S GOLDFINCH OF 1654 WITH THE DUTCH WINDOW, A SIGNIFICANT SITE OF NEIGHBORHOOD SOCIAL EXCHANGE Linda Stone-Ferrier This article posits that Carel Fabritius’s illusionistic painting The Goldfinch, 1654, cleverly traded on the experience of a passerby standing on an actual neighborhood street before a household window. In daily discourse, the window func- tioned as a significant site of neighborhood social exchange and social control, which official neighborhood regulations mandated. I suggest that Fabritius’s panel engaged the window’s prominent role in two possible ways. First, the trompe l’oeil painting may have been affixed to the inner jamb of an actual street-side window, where goldfinches frequently perched in both paintings and in contemporary households.
[Show full text]
Bobbins, Pillows and People
Early Bobbins, Pillows and the People that used them Visual evidence I know of three sixteenth century pictures of lacemakers, one from very early in the seventeenth century and six paintings from the second half of the century. The earliest image is the frontispiece of Nüw Modelbuch.1 This shows two lacemakers working on bulky rectangular pillows resting on high stands. The size and shape of the pillows suggests they are probably filled with tightly packed straw, hay or similar. The bobbins are long, with little in the way of shaping and appear to be quite heavy. Six bobbins are visible on the nearer pillow and at least ten threads, the most that could be shown easily as separate lines. The lace is not shown in any detail, however it is almost certainly one of the patterns from the book, and position of pins indicates that it is being worked 'freehand' ie with pins only along the edge. The lace appears to be worked over a strip of dark fabric which would have helped maintain straight edges. The other pillow, shown from the back, has a small bag holding completed lace, no other detail of lace or bobbins can be seen. In many ways this is a very modern image, showing two women in a working environment, sitting where they can make best use of light from good size windows. It is likely that the amount of space in the room has been exaggerated, but there is a degree of realism that encourages the viewer to Frontispiece of the Nüw Modelbuch, 1561 believe these were real people making real lace.
[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]
Rembrandt's Mother
Rembrandt’s Mother ca. 1628 Studio of Rembrandt van Rijn oil on panel 35.5 x 29.1 cm JL-106 How To Cite Lloyd DeWitt, "Rembrandt’s Mother", (JL-106), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017 http://www.theleidencollection.com/archive/ © 2017 Leiden Gallery Rembrandt’s Mother Page 2 of 8 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. The 1679 inventory of the estate of Clement de Jonghe (1624/25–77), an Amsterdam print dealer who had known and sat for Rembrandt van Rijn (1606–69), identifies, for the first time, the sitter in one of the master’s prints as “Rembrandts moeder” (Rembrandt’s mother).[1] The exact etching referred to in this inventory is not known, but it was undoubtedly one of a number of images of an old woman that Rembrandt made in the late 1620s and early 1630s (fig 1). The identification of this sitter as Rembrandt’s mother is probably correct given the number of times that Fig 1. Rembrandt van Rijn, [2] Rembrandt’s Mother, 1628, Rembrandt depicted her. She also served as a model for other Leiden etching, 64 x 64 mm, British artists, including Jan Lievens (1607–74)[3] and apprentices in Rembrandt’s Museum, London, F,6.122, 1843,0607.219, © Trustees of studio, among them Gerrit Dou (1613–75),Isaac de Jouderville (ca.
[Show full text]
Hirschfelder, Dagmar: Tronie Und Porträt in Der Niederländischen Malerei Des 17
Hirschfelder, Dagmar: Tronie und Porträt in der niederländischen Malerei des 17. Jahrhunderts, Berlin: Gebr. Mann Verlag 2008 ISBN-10: 3-7861-2567-8, 552 S., ¤ 98 Reviewed by: Lyckle de Vries, Groningen Some critics use the word 'tronie' as the name of a genre comparable to that of landscape or por- trait but this a recent development, not justified by the way in which seventeenth-century sources apply the word. Hirschfelder rightly concludes that we don’t have a useable definition for this class of paintings yet, and she tries to find it by studying the similarities and differences between tronies and related groups of paintings. Every single aspect of this limited subject is carefully anal- ysed and this monolith of solidity and thoroughness could be considered a classic in the field of art history, if only an editor had been hired to reduce its text by 30%, reorganising it and making superfluous the many repetitions that seem to be unavoidable in the book’s present structure. This is my main objection to an otherwise admirable book. The author concludes that the makers of 'tronies' aimed for the depiction of highly interesting types of figures with characteristic physiognomies, and at the same time tried to demonstrate their virtuosity in all aspects of their craft. She states that the 'tronie' originated in Leiden and Haarlem in the third decade of the seventeenth century, where Jan Lievens, Rembrandt and Frans Hals were its inventors. This choice implies a definition: a painting is a 'tronie' when it has the characteristics these three artists gave to their 'tronies'.
[Show full text]
The Leiden Collection Catalogue, 3Rd Ed
Nicolaes Maes (Dordrecht 1634 – 1693 Amsterdam) How to cite Bakker, Piet. “Nicolaes Maes” (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/nicolas- maes/ (accessed October 03, 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) Nicolaes Maes Page 2 of 5 Nicolaes Maes is an example of a Rembrandt van Rijn (1606–69) pupil who became disaffected with his master’s style relatively soon after completing his apprenticeship. Rembrandt’s style resonates in Maes’s history paintings, in which he specialized until about 1654, and in the warm tones of the genre pieces he painted until 1658. Thereafter Rembrandt’s influence faded, particularly, according to Arnold Houbraken, “more so when he began to concentrate on portraits and saw that young women in particular took more pleasure in white than in brown.”[1] Nicolaes Maes was born in Dordrecht in 1634, the second son of Gerrit Maes (d. 1684) of Ravestein and Ida Herman Claesdr (d. 1681). When Gerrit married, he moved into a house in the Voorstraat, Dordrecht, where he earned a living, and a certain degree of prosperity, as a cloth merchant. However, when he died in 1648, he was also described as a soap boiler, which was the profession of his eldest son, Abraham.
[Show full text]
Self-Portrait with Magic Scene Ca
Self-Portrait with Magic Scene ca. 1635–37 oil on canvas Pieter van Laer 80 x 114.9 cm (Haarlem 1599 – 1642 Italy?) signed on the music sheet, lower left center: “P.V. Laer” PvL-100 © 2021 The Leiden Collection Self-Portrait with Magic Scene Page 2 of 15 How to cite Liedtke, Walter A. and Arthur K. Wheelock Jr. “Self-Portrait with Magic Scene” (2017). Revised by Alexa J. McCarthy (2019). 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-magic-scene/ (accessed September 26, 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 Magic Scene Page 3 of 15 In one of the most remarkable self-portraits ever created, Pieter van Laer Comparative Figures reacts with horror to the frightening claws of the devil that have suddenly come to claim him. Dressed in the black cloak and cap of a magician, the artist, with bulging eyes and open mouth, has witnessed this apparition while standing behind a table filled with books, some with alchemical notations, a variety of vessels, a snuffed-out candle, and a skull resting on hot coals. To emphasize the personal character of this dramatic image, Van Laer prominently signed this work on the musical score lying in the foreground, its lyrics warning that “the devil doesn’t jest.” Clearly, in his conjuring up a world of occult forces, the magician has unleashed realms far beyond his control, and he is about to suffer the consequences of his audacity.
[Show full text]
Self-Portraiture 1400-1700
9 Self-Portraiture 1400–1700 H. Perry Chapman In his biography of Albrecht Dürer, published in Het schilder-boeck (The Painter Book, 1604), Karel van Mander describes holding in his hands Dürer’s Self- Portrait of 1500 (fig. 9.1).1 Van Mander, the Dutch painter-biographer who wrote the lives of the Netherlandish and German painters (see chapter 24), was on his way home from Italy in 1577. He had stopped in Nuremberg, where he saw Dürer’s Self-Portrait in the town hall. Van Mander’s account conveys Dürer’s fame, as both the greatest German artist of the Renaissance and a maker of self- portraits. It tells us that self-portraits were collected and displayed, in this case by the city of Nuremberg. Above all, Van Mander’s remarks demonstrate that, by 1600, self-portrait was a concept. Though there was as yet no term for self- portrait (autoritratto dates to the eighteenth century, Selbstbildniss and “self-portrait” to the nineteenth), a portrait of an artist made by that artist was regarded as a distinctive pictorial type. The self-portrait had acquired a mystique, because the artist had come to be regarded as a special person with a special gift. The topos “every painter paints himself” conveyed the idea that a painter invariably put something of him/herself into his/her art. More than any other kind of artistic creation, the self-portrait was regarded as a manifestation of the artist’s ineffable presence in the work. Today we tend to think of self-portrayal as a private process and of the self- portrait as the product of introspection.
[Show full text]