|
|
|

|

|
Baroque and Rococo
|
Baroque and Rococo
Art Map |
Dirck van Baburen
Samuel van Hoogstraten
Carel
Fabritius
see collection:
Abraham Bloemaert
Gerrit van Honthorst
Hendrick Terbrugghen
Gerrit Dou
Govaert Flinck
Nicolaes Maes
Emanuel de Witte
|
|
The Netherlands in the 17th Century
This period saw a great flowering of Dutch art. and especially of
cabinet and small-scale pictures of all types: portraits,
landscapes, marine paintings, domestic interiors, architectural
vistas, and still lifes. Official commissions were often for group
portraits of civic worthies, such as city guilds and military
companies in the United Provinces (now The Netherlands). During the
1620s, the established Utrecht master
Abraham Bloemaert (1564-1651)
was a late convert to Caravaggism, influenced by one of his pupils,
Gerrit van Honthorst (1590-1656). Like
Dirck van Baburen (1595-1624)
and Hendrick Terbrugghen,
van Honthorst had spent time in Rome. The
evocative, atmospheric candlelight in many of his paintings earned
him the name ''Gerard of the Night Scenes". But the last flicker of
Dutch Caravaggism died away with
Terbrugghen's death in 1629;
van Honthorst abandoned his earlier style in favour of classicism, and
went on to work at the English, Danish, and Dutch courts.
Born in Antwerp, the great portraitist
Frans Hals (1581/85 -1666)
spent most of his life in Haarlem. He left Mannerist convention
behind, restoring truth, vigour, and spontaneity of pose and
expression to his subjects, and made the most of his skill at
capturing a likeness with swift, sure brushstrokes, as can be seen
in his "character" portraits painted during the 1630s. Far in
advance of contemporary European artists,
Rembrandt van Rijn was not
only a painter of exceptional originality but also a superb
draughtsman and etcher. In about 1625, he set up a workshop in his
home town of Leiden and concentrated on examining how light
delineates shapes within evocative atmospheres, while also exploring
the inner psychology of his subjects. Over the years, his expressive
power grew in subtlety and insight, partly as a result of his
experience in painting penetrating portraits. Some 80 self-portraits
recorded the phases of his life rather like an autobiography, and
later they gradually became more introspective. Immediately after
moving to Amsterdam in 1631, he became the most sought-after painter
of the day for portraits of the city's haute bourgeoisie. His
Anatomy Lesson of Dr Tulp dates from this period. With his famous
The Night Watch (also known as The Militia Company of
Captain Frans
Banning Cocq and Lieutenant Willem van Ruytenhurch), painted in
1642, Rembrandt created a fresh and unusual
interpretation of the group portrait by dividing the figures into
several smaller groups, and portraying them moving, instead of in
static poses, emphasized by his handling of the complex lighting
effects. Rembrandt had many pupils in Leiden and Amsterdam,
including Gerrit Dou,
Govaert Flinck, Samuel van Hoogstraten,
Carel
Fabritius, and Nicolaes Maes. In 1650, Fabritius (1622-54) moved to
Delft and, inspired by his adopted city, gained a reputation for his
vibrant,
colourful paintings and his exploration of perspective, demonstrated
by his View of Delft (1652). Delft was also home to the painter
Emanuel de Witte (c.1617-92), famous for his massive and dramatic
church interiors, and Jan Vermeer
(1632-75), whose later paintings
were generally domestic interiors, peopled by calm figures who are
usually occupied in leisure or work activities, and which convey
feelings of serenity through their purity of colour and an
exquisite, sensuous light.
|
|
|
_____________
_____________
|
Dirck van
Baburen
(b Wijk bij Duurstede, nr Utrecht, c. 1594–5; d
Utrecht, 21 Feb 1624).
Dutch painter. His father, Jasper van Baburen (d ?1599), had been
in the service of Geertruijd van Bronckhorst van Battenburg, Baroness (vrijvrouw)
of Vianen, Viscountess (burggravin) of Utrecht, and thus Dirck
must have received a better than average education, a fact at least
partially confirmed by the innovative and often literary nature of his
subject-matter. In 1611 he is recorded as a pupil of the portrait and
history painter Paulus Moreelse in Utrecht. It is likely that this was
the last year of his apprenticeship. Van Baburen probably left for Italy
shortly after 1611, for a document rediscovered in the late 1980s
records a signed and dated altarpiece of the Martyrdom of St
Sebastian (1615; untraced), executed for a church in Parma. His most
important pictures made in Italy were painted in collaboration with
David de Haen (d 1622) for the Pietà Chapel of S Pietro in
Montorio, Rome, which was decorated between 1615 and 1620. Van Baburen’s
paintings for the chapel were mentioned by Giulio Mancini in his
manuscript notes, Considerazioni sulla pittura (c.
1619–20); there Mancini claims the artist was 22 or 23 years old when he
carried out the commission. One of his best-known works, the
Entombment (formerly dated 1617), is still in situ on the
altar of the chapel. This much-copied composition reveals van Baburen’s
close study of Caravaggio’s famous Entombment (Rome, Pin.
Vaticana). In 1619 and the spring of 1620 van Baburen and de Haen were
recorded as living in the same house in the Roman parish of S Andrea
delle Fratte. Caravaggio’s close follower and presumed student,
Bartolomeo Manfredi, was living in the same parish in 1619. Van Baburen
must have known the works of Manfredi—if not the artist himself—for both
versions of his Christ Crowned with Thorns (c. 1621–2;
Utrecht, Catharijneconvent, and Kansas City, MO, Nelson–Atkins Mus. A.)
are deeply indebted to Manfredi’s interpretation of Caravaggio’s style
and subject-matter. In Rome van Baburen attracted the patronage of
Vincenzo Giustiniani, for whom he executed a large Christ Washing the
Feet of the Apostles (Berlin, Gemäldegal.), and Cardinal Scipione
Borghese, for whom he painted an Arrest of Christ (Rome, Gal.
Borghese).
|
|

Dirck van Baburen
The Procuress
1622
Oil on canvas
Museum of Fine Arts, Boston
|

Dirck van Baburen
San Sebastian atendido por Santa Irene y su criada
|

Dirck van Baburen
Christ Washing the Apostles' Feet
|

Dirck van Baburen
Concert
1623
|

Dirck van Baburen
Prometheus Being Chained by Vulcan 1623 Oil on canvas, 202 x 184 cm Rijksmuseum, Amsterdam
|
|
_____________
_____________
|

Samuel van Hoogstraten
View of a Corridor
1662
Oil on canvas, 260 x 140 cm
National Trust, Dyrham Park
|
Samuel
van
Hoogstraten(b Dordrecht, 2 Aug
1627; d Dordrecht, 19 Nov 1678).
Dutch painter, draughtsman, engraver and writer. His
multi-faceted art and career testify amply to the
unflagging ambition attributed to him as early as 1718
by his pupil and first biographer, Arnold Houbraken.
During his lifetime van Hoogstraten was recognized as a
painter, poet, man of letters, sometime courtier and
prominent citizen of his native city of Dordrecht, where
he served for several years as an official of the Mint
of Holland. Today he is remembered not only as a pupil
and early critic of Rembrandt, but also as a versatile
artist in his own right. His diverse oeuvre consists of
paintings, drawings and prints whose subjects range from
conventional portraits, histories and genre pictures to
illusionistic experiments with trompe-l’oeil
still-lifes, architectural perspectives and perspective
boxes. He also wrote the major Dutch painting treatise
of the late 17th century, the Inleyding tot de hooge
schoole der schilderkonst, anders de zichtbaere werelt
(‘Introduction to the academy of painting, or the
visible world’; Rotterdam, 1678).
|

Samuel van Hoogstraten
Still-life
|
|
|
|

Samuel van Hoogstraten
Still-life
1666-68
Oil on canvas, 63 x 79 cm
Kunsthalle, Karlsruhe
|

Samuel van Hoogstraten
Self-Portrait
Oil on canvas
The Hermitage, St. Petersburg
|

Samuel van Hoogstraten
Tobias' Farewell to His Parents
oil on canvas
The Hermitage, St. Petersburg
|

Samuel van Hoogstraten
The Virgin of the Immaculate
Conception
oil on canvas
Private Collection, New York
|
|
|
_____________
_____________
|

Carel Fabritius
The Goldfinch
1654
Oil on panel, 33,5 x 22,8
Mauritshuis, The Hague
|
Carel
Fabritius
(bapt Midden-Beemster, nr Hoorn, 27 Feb 1622; d
Delft, 12 Oct 1654).
Painter. His oeuvre consists of a scant dozen paintings, since
research has rigorously discounted many previously attributed
works. These few paintings, however, document the painter’s
unique development within his brief 12-year career. He is often
mentioned as being the link between Rembrandt and the Delft
school, particularly Pieter de Hooch and Jan Vermeer, whose
depiction of light owes much to Fabritius’s late works in which
his use of cool silvery colours to define forms in space marks a
radical departure from Rembrandt’s use of chiaroscuro.
|

Carel Fabritius
Self-Portrait
Oil on panel, 62 x 51 cm
Alte Pinakothek, Munich
|
|

Carel Fabritius
Self-Portrait
c. 1645
Oil on panel, 65 x 49 cm
Museum Boijmans Van Beuningen, Rotterdam
|
|

Carel Fabritius
Self-Portrait
1654
Oil on canvas, 70,5 x 61,5 cm
National Gallery, London
|

Carel Fabritius
View of the City of Delft
1652
Oil on canvas, 15,4 x 31,6 cm
National Gallery, London
The unusual composition of this painting has a collection of
objects and a figure in the left foreground,
and a view of the church surrounded by a low boundary.
|

Carel Fabritius
The Beheading of St. John the Baptist
c. 1640
Oil on canvas, 149 x 121 cm
Rijksmuseum, Amsterdam
|
|
see collection:
Abraham Bloemaert
Gerrit van Honthorst
Hendrick Terbrugghen
Gerrit Dou
Govaert Flinck
Nicolaes Maes
Emanuel de Witte
|
|
|
 |
|