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Jan Steen, Dutch School

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ND 653 • S8 J36 1905 -5 V‘ it. 5 4 c 1 tt. < : MASTERS IN ART BRAUN’S iDp^terMn^rt K'0ens0;^lu9tratEditt9nojarapl^^ CARBON PRINTS Among the artists to be considered during the current, 1905, V'olume may be mentioned Fra Filippo Lippi, Sir Henry Rae- burn, Claude Lorrain,and Verrocchio. The numbers of * Masters FINEST AND MOST DURABLE ’ in Art which have already appeared in 1905 are : Part6i, JANUARY WATTS IMPORTED WORKS OF ART^ Part 62, FEBRUARY . PALMA VECCHIO Part6j, march MADAME VIGEE LE BRUN Part 64, APRIL MANTEGNA ^NE HUNDRED THOUSAND direct Part 6s, MAY . CHARDIN Pakt66, JUNE . BENOZZO GOZZOLI ^^reproductions from the original paintings Part 67, JULY . .JAN STEEN and drawings by old and modern masters in PART 68, THE ISSUE FOR the galleries of Amsterdam, Antwerp, Berlin, Dres- 9lugust den, Florence, Haarlem, Hague, London,' Ma- WILL TREAT OF drid, Milan, Paris, St. Petersburg, Rome, Venice, Vienna, Windsor, and others. i^lcmlinc Special Terms to Schools. NUMBERS ISSUED IN FREVUOUS VOLUMES OF ‘MASTERS IN ART’ BRAUN, CLEMENT & CO. VOL. 1. VOL. 2. 256 Fifth Avenue, corner 28th Street Part i.- -VAN DYCK Part ij. -RUBENS Pakt 1 - -TITIAN Part 14. -DA VINCI NEW YORK CITY Part -VELASQUEZ Part 15. -DURER I Part -HOLBEIN Part 16. -MICHELANGELO* Part -BOTTICELLI Part 17. -MICHELANGELOt : ; :i Part -REMBRANDT Part 18. -COROT : Part -REYNOLDS Part 19. -BURNE-JONES ' Part -MILLET Part 20.- -TER BORCH I Part -GIO. BELLINI Part 21. -DELLA ROBBIA ^ Part 10.- -MURILLO Part 22. -DEL SARTO Part II.- -HALS Part 2J. -GAINSBOROUGH THE LONDON Part 12.- -RAPHAEL Part 24. -CORREGGIO * Sculpture ^Painting VOL. 3. VOL. 4. SCHOOL OF ART Part 25.— PHIDIAS Part 37.— ROMNEY Part 26.— PERUGINO Part 38.— FRA ANGELICO Part 27. — HOLBEIN J Part 39.— WATTEAU STRATFORD STUDIOS, STRATFORD ROAD, Part 28.—TINTORETTO Part 40.- RAPHAEL* Part 29.- P. deHOOCH Part 41—DON ATELLO KENSINGTON W., LONDON, ENGLAND Part 30.— NATTIER Part 42.— GERARD DOU Part ji.— PAUL POTTER Part 43. 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ARE CONSTANTLY KEPT IN STOCK For further particulars apply to the Director, Prices on and after January i, 1905 : Single numbers of back volumes, 20 cents each. Single numbers of the current 1905 C. P. Townsley, Calle de Arrieta 8, Mad- volume, cents each. Bound volumes l , 2, 4, and 5, contain- 15 3, rid, Spain, until August 15; after that date at ing the parts listed above, bound in brown buckram, with gilt stamps and gilt top, $3-75 each; in green half-morocco, gilt London address. stamps and gilt top, $4.25 each. i . In answering advertisements, please mention Masters in Art MASTERS IN ART BOSTON & MAINE RAILROAD i§ummer Publications! DESCRIPTIVE OF New England Scenery AND Summer Resorts FULLY ILLUSTRATED AND CONTAINING VALUABLE MAPS Wizard Tree, Intervale, N. H. FISHING AND HUNTING ALL ALONG SHORE AMONG THE MOUNTAINS LAKES AND STREAMS THE VALLEY OF THE CONNECTICUT AND NORTHERN VERMONT SOUTHEAST NEW HAMPSHIRE HOOSAC COUNTRY AND DEERFIELD VALLEY SOUTHWEST NEW HAMPSHIRE CENTRAL MASSACHUSETTS MERRIMACK VALLEY LAKE SUNAPEE ABOUT THERE THE MONADNOCK REGION 1 AND I LAKE MEMPHREMAGOG . EXCURSION AND SUMMER HOTEL BOOK — FREE Auy one of the above Publications sent on receipt of TWO CENTS IN STAMPS ! A COLORED BIRD’S-EYE VIEW FROM MT. WASHINGTON, A COLORED BIRD’S-EYE VIEW OF LAKE WINNIPESAUKEE EITHER OF THE ABOVE WILL BE SENT ON RECEIPT OF SIX CENTS IN STAMPS PORTFOLIOS A Series of Beautiful Half-tone Reproductions of Photographs taken expressly for these works, illustrating New England Scenery, have been published under the following titles : NEW ENGLAND LAKES RIVERS OF NEW ENGLAND MOUNTAINS OF NEW ENGLAND SEASHORE OF NEW ENGLAND PICTURESQUE NEW ENGLAND (Historic — Miscellaneous) THE CHARLES RIVER TO THE HUDSON SIZE OF ILLUSTRATIONS 4x6 INCHES. WILL BE MAILED ON RECEIPT OF SIX CENTS FOR EACH BOOK Address: Passenger Department Boston & Maine R. R., Boston, Mass. TICKET AGENT D. J. FLANDERS, GENERAL PASSENGER AND In answering advertisements, please mention Masters in Art 1 I \ » i ‘ MO G53 a MASTKHS I A" AKT PLATK I .lAX STKKX PHOTOGRAPH BY BRAUN, CLEMENT A CIE. THK FESTIVAL. OF ST. XICIIOLAS [‘iooj KYKS MUSEUM, AMSTEKDA.M y%w *, . L-i^> ’ . i-r-'*’:- *'5:;^ •' %r % * ,• tv ' «.\X *; .TAX MASTKKS IN A KT l^LATE II STKKX 'J'HK I'AHUO'I'S CA(iE »HOTOGRAPH BY BRAUN, CL^MENr 4 CIE. JiYKS MIS HUM, AMSTERDAM [ ] Digitized by the Internet Archive in 2016 https://archive.org/details/jansteendutchschOOstee PI.Al’KllI AHT IX MASTKHS MASTKJtS l.V AKT I'l.ATK IV JAX STKKX PHOTOGRAPH BY BRAUN, CLEMENT Sl CiE. TIIK I KXrroK'S VISIT V K S M U S l-;i’ M A M S T KK DA M K , " "* »•. ' ‘ V jiivs-'’ ' m ' ' '* ’ '''* .’* ‘ ^’'*' ’ "’ *^-‘*'- *’ - •» t*» *•' “•*' ’ > > vr . A-' ' rV*-» V. -v-i \*J -§| ^r‘5 ' - - • *' :. < » «-- -* * r---<*,'^ -«'->i- > . • y !. JC'*:' n»^ t-'S ' (< -T -' '"-'•‘ --X . i , r.fc^ri - '' 11^^ '4^ " ••< .'2 -:•<;••« . J Z-V;? vV-y^ gewtl*'*'-' «'_ MASTKKS IX AH'V PI.ATK V .TAX STKKX Photograph by braun, clement a cie. 1?A 1) roM 1>A X V JA)I VHK, I'AUIS , ; . w - ST w ' ^ "JL -^ • - *3 I- r . ^7^.' ,* »4 .-1, <M>‘f • ./, ® " ^ -c -V"^' ^ IV "4^ ", : ; t; -_• ;i> . - i!>4 _:_; ,j y '^yy y vy , ; ‘v'-lfev ';4’ v- 14.; - ^P\• ^ 4- '’ '4 •- ;4J-* >:-vi--:< 4- 4'.f'"--' X’liC r - ‘I' » • - . ’ T'^* - “ • r ,,- • • • '.' • •% 'I “i.' ‘I '•*%' yy .yy yr ' ^ • I - -. ^ «.' >•-> ,. .- x < .• -‘v^ • , -‘ « v.^*• - ’ £- . .' ,> ^ r' , i . * .. - i- . rJf. - . ^ r^j* ®-'%-4.‘teJK y- r -T' >. » ,X *" • - - , . I - - -ar » C' .-J'- • >^’1' ?s,r ir:?r-4- t* 'a' ' • 4 • . <'<<: - ^.p-- . ^ x,-c;y :-;.v4^ ,-v r- p;- p- > yyp-^... - yv * .%'vP;‘Pi -•' K .lAX STKKX^ MASTKltS IX AIM' 1*1. ATK VI A M KX AGKK' PHOTOGRAPH BY BRAUN, CLEMFNT & CIE. TIIK JIAIU'K GALI.KKY ^ ' • i. ' •"-'# • :- •- ' '• , fi---p— - i ^ ' -.V. '-‘t5-:?K; '•-e-';-'» •..•i..---t .v-'Ojrp m ,. I : > rr : 97m- ' “ ' ' •' ' >' ' -’;' v:. -A- r- ‘^i < 'J.' : ;-- '-:'‘-.i‘-, '• >• - '.'-< -- ."'*•31- ' Z V At . '*.Jra = rf^- -•;• • - f / ^ 1^. C'^- ir. i- ' - .- . 4?r : . ^ ' * " ' •'^' ' . ^ . * ''"•V. , A SQ - _'4 ^ i pM < > p IS ^ , 7-W;.T ‘-*'*-* < jf*'^ -A -^A-J J i -*'•'•; .r^* - ® - : .jisf. r^.-'^-v- . a •V* A «r ''7.- An' 7’*-‘ A ,v -•< »* . “TT. - -, - .' * f ' . £ ^ . J . ','nia A-? , ' --- V .% ^ 7 . ^>:, p,:;/ ^iC ••ta?jr .-• - •'• • T > -r ;ta-AvA- -^“-•7:^ . r- - j :^-J^':'. •• * f; • ,5- - .*: . _ .T-.^ . '*'vv ^ >.J?- ^ MASTERS IX AKT I'LATE VII •TAX STEEX OEEEKIXG PHOTOGRAPH BY HANFSTAENGL THE (lALEAXT HKL'SSELS MUSEUM [ 2 <-. 7 ] : ; ' " ' " ’*- • • '- - ’•.* ' *!•’'. ' * • .» > •- • > » ;‘'n \ -^*A*',*^<v^,• »f ».V?' ?,- ii:r. '-r - . ! .'v#j % > \ «'v :J -T-' * i * >. ^ .> V-'V V' V -, J^ - ' , r is \1S " ' - *.- • .-'. ’ * — :- .- f^''-.',:.? : : ^ ' ;• - - < r . .. V* » ‘ - • ?'V , m^ i ; ‘-i ’ V^: . > . # .vt* ••;« -> y:c •P' ‘^‘T „ -r V . ’ -: 'm '-'.Hfi#'/- '"/ “". - -^' .•‘''y C- •--‘i . .'•'J* ijuti,.' ^' :- -a ;v. :\v..-.' ;:•< .? w?rr.<H?n V ;"''i, i:- . ,. , . X/;. >,: . ':• yT • ^ y .-lr: a MASTKKS IX AHT Pl.ATK IX ,7 AX STKKX Photograph by braun, clIment & ciE. TIIK SICK KAUr COI-KKCTIOX, I.OXDOX [->71 ] Di'KK OF avklj.ix(;tox-s ’ - -?^ >> ,> . •i‘SS-^;ym^ .«., . .-'i'>tt: 3,. f/ c;am-khv I'KKX 'I’AN'hMJX S X 1IA<;UK A 'I’lIK .) THK CIE. A IM^ATKX CLEMENT AHT [;27.!] BRAUN, Ii\ BY HOTOQRAPH MASTKHS POHTl{AlT ny .TAX STKK.V HY HIMSKr.F KAHli OK XOHTHHKOOlv'S COLI. KCTIOX , I.OXDOX Jan Steen painted this portrait when he was about forty years old. Dressed in a brown jacket with yellow sleeves, green slashed hose, a dark red cap, and long brown cloak lined with red, he sits before us with legs crossed, singing a rollicking song as he touches the strings of his mandolin. Behind him is a green curtain, and at his side a table on which are music-books and a silver tankard. The tones are broken and transparent; the execution broad and masterly. 'I'he panel measures less than two feet high by one foot and a half wide. [•274 ] t MASTERS IN ART an lb t e e n BORN 1 0 2 G : DIED 1 G 7 9 DUTCH SCHOOL he lives of the great seventeenth-century painters of Holland are for the T most part known to us only in outline. Even that of Rembrandt, the greatest of them all, is more or less shrouded in mystery, and therefore it is perhaps not surprising that of the life of Jan Steen (pronounced Yahn Stane), who in certain of his qualities as a painter is regarded as second only to Rem- brandt, few authenticated details have been handed down. Recent research has revealed a number of facts, and discovered and established beyond ques- tion considerable data, thereby providing us with a framework which it is left to our imagination to fill out — to our imagination, or to those legendary tales concerning the painter for which Houbraken, the eighteenth-century biog- rapher of Dutch artists, is largely responsible, but which rest on no firm foun- dation and are wholly without documentary proof.
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    Hubert Van Ravesteyn

    VP4653 HUBERT VAN RAVESTEYN (1638 – Dordrecht - 1683/91) A Still Life of a porcelain or Delft blue Plate of Walnuts on a marble Table, with an Orange, a Rhenish stoneware Jug and a Knife with a black and white Handle Signed centre in monogram: HR. (H and R connected) On canvas: 20¾ x 17½ ins. (52.7 x 44.5 cm) Painted circa 1670 PROVENANCE Sir William BM Bird, JP, MP (1855-1950) his estate sale, Sotheby’s London, 28th February 1951, lot 61 (£ 280 to Drown) Eugene Slatter. London, 1951 Edwin Cohen, Hazelhurst Sway, Hampshire, by 1952 Private Collection, United Kingdom, until 2013 EXHIBITED London, Eugene Slatter Gallery, Flower and Still Life Paintings by Dutch & Flemish masters, 1943, cat. no.22 London, Royal Academy, Dutch Picures 1450-1750, 1952-53, cat. no.71 Hubert van Ravesteyn was born in Dordrecht in June 1638, the son of the decorative painter Herman van Ravesteyn. His teacher is unknown, but he may well have been initiated into painting by his father. Some of his early figure paintings show some reminiscence of the work of Abraham Diepraam (1622-1670), who became a member of the Dordrecht guild in 1648, but who moved back to Rotterdam at an unknown date. The oeuvre of Hubert van Ravesteyn, invariably signed with his connected initials HR, consists of several groups of rather disparate subjects and quality, which would appear to follow each other chronologically. This is difficult to establish for fact however, since van Ravesteyn only dated a small number of still lifes related to the present one, fairly late in his career.
  • Prints by Such Artists As Cornelis Cort After Frans Floris (1561) and Jan Saenredam After Hendrick Goltzius (Ca

    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.
  • Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester Rosenberg, Jakob and Slive, Seymour

    Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester Rosenberg, Jakob and Slive, Seymour

    Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . The School of Delft: Jan Vermeer . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 114-123 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16585[8/18/2016 12:49:46 PM] ~ PART ONE: PAINTING I60o-1675 THE SCHOOL OF DELFT: JAN VERMEER also painted frequently; even the white horse which became Wouwerman's trademark 84) and Vermeer's Geographer (Frankfurt, Stadelschcs Kunstinstitut; Plate 85) em­ is found in Isaack's pictures. It is difficult to say if one of these two Haarlem artists, phasizes the basic differences between Rembrandt and Vermeer. Rembrandt stands out who were almost exact contemporaries (W ouwerman was only two years older than as an extreme individualist; Vermeer is more representative of the Dutch national Isaack), should be given credit for popularizing this theme or if it was the result of their character.
  • Tavern Scene

    Tavern Scene

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Adriaen van Ostade Dutch, 1610 - 1685 Tavern Scene early 1660s oil on panel overall: 23.8 x 20.4 cm (9 3/8 x 8 1/16 in.) framed: 30.1 x 26.3 x 4.7 cm (11 7/8 x 10 3/8 x 1 7/8 in.) Inscription: lower left: Av Ostade / 166[?] Gift of John Russell Mason 1977.21.1 ENTRY Within the dark confines of a spacious tavern country folk have gathered to pass the evening hours warming themselves by the fire, playing cards or backgammon, or just kibitzing while enjoying the soothing effects of tobacco and beer. The trees silhouetted against the moonlit sky, seen through the leaded-glass windows, situate the tavern in a rural setting. One senses that this scene is a recurring evening ritual, in which residents from the local community play out familiar roles night after night. Much of the appeal of this small painting comes from the sense of atmosphere that helps unify the composition. One can imagine the quiet din of conversation within the dark recesses of this smoke-filled space. Light from various sources—the fire, the candle attached to the hearth, and the hidden candles on the tables—gives a warmth to the scene that is reinforced by the attitudes and expressions of the figures themselves. Adriaen van Ostade, perhaps more than any other Dutch artist, devoted himself to the depiction of the lower echelons of Dutch society. Almost certainly influenced Tavern Scene 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century by Adriaen Brouwer (Flemish, 1605/1606 - 1638) in his early years, Van Ostade initially executed images of peasant life that were far from flattering.