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Baroque and Rococo
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Baroque and Rococo
Art Map |
Esaias van de Velde
David Bailly
Jan III van de Velde
Abraham van Beyeren
see collection:
Jacob van Ruisdael
Ambrosius Bosschaert
Willem Heda (Claesz)
Pieter Claesz
Willem Kalf
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DUTCH LANDSCAPE PAINTING
The development of landscape painting in the Netherlands was
stimulated by a desire to emulate the Flemish masters. Haarlem was
an important centre for this new approach and it was here that
Esaias van de Velde (c. 1591-1630), who supported a more "realistic"
approach to landscape painting, was working. By the 1620s, he had
found a like-minded contemporary in Hercules Pietersz Seghcrs
(1589/90-1633/38), a talented artist whose paintings and etchings
depicted views taken directly from nature as well as imaginary
landscapes — some incorporating erotic elements of a type that later
appealed to Rembrandt.
Jacob van Ruisdael
(c.1628-82), one of the
most outstanding Dutch landscape painters, was much admired by
18th-century and Romantic artists.
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van de
Velde
Dutch family of artists. Esaias van de Velde was
the second son of Cathalyne van Schorle and the painter and art dealer
Hans van den Velde (1552–1609), a Protestant who fled religious
persecution in Antwerp and settled in Amsterdam in 1585. On his father’s
death, Esaias, a painter, draughtsman and etcher, moved to Haarlem with
his mother, and the same year he married Katelyna Maertens, with whom he
had four children: Jan (b 1614), Esaias the younger (b
1615), Anthonie the younger (1617–72) and a daughter, Jacquemijntgen (b
1621). Both Esaias the younger and Anthonie the younger became artists,
the latter a still-life painter named after his uncle, the Antwerp
painter Anthonie van den Velde the elder (b c. 1557). Esaias’s
older brother, Jan van de Velde I (1568–1623), was a famous
calligrapher, who moved from Antwerp to Rotterdam after his marriage in
1592. His eldest son, (2) Jan van de Velde II, was a painter,
draughtsman and printmaker, like his uncle. He had a son, Jan van de
Velde III (1619/20–62), who became a still-life painter. Both Esaias
and Jan played an important role in the development of naturalistic
Dutch landscapes in the 17th century.
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Esaias van de Velde
(b Amsterdam, bapt 17 May 1591; d The Hague,
bur 18 Nov 1630).
Painter, draughtsman and etcher. He probably received his earliest
training from his father. It is also possible that he studied with the
Antwerp painter Gillis van Coninxloo, who moved to Amsterdam in 1595
(ten years after Esaias’s father). He may also have trained with David
Vinckboons, whose work shows similarities with that of Esaias. Esaias
became a member of the Haarlem Guild of St Luke in 1612, the same year
as Willem Buytewech and the landscape painter Hercules Segers. During
this Haarlem period Esaias had two pupils, Jan van Goyen and Pieter de
Neijn (1597–1639), but by 1618 he had moved with his family to The
Hague, where he joined the Guild of St Luke in October of that year.
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Esaias van de Velde
Landscape
1622
Oil on oak panel, 28 x 34 cm
Private collection
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Esaias van de Velde
The Joy of Ice on the Wallgraben
1618
Wood, 28,8 x 50,4 cm
Alte Pinakothek, Munich
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Esaias van de Velde
Ferry Boat
1622
Oil on panel, 76 x 113 cm
Rijksmuseum, Amsterdam
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Esaias van de Velde
Wiew of the Zierikzee
1618
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Esaias van de Velde
Merry Company Banqueting on a Terrace
1615
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Esaias van de Velde
Winter Landscape
1623
Oil on wood, 25,9 x 30,4 cm
National Gallery, London
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Esaias van de Velde
Battle Scene in an Open Landscape
1614
Oil on panel, 55 x 87 cm
Private collection
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Roelant Savery Blumenstraub
1612
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STILL LIFE
By 1610, Roelant Savery had introduced flower painting to Utrecht.
It proved to be a popular genre, and
Ambrosius Bosschaert
(1573-1621), an outstanding still-life painter, had considerable
success with his flower paintings. The vanitas theme, usually
involving a penitent and sorrowing figure surrounded by symbols of
the transitory nature of earthly life such as a skull, candle, or
rose, was a favourite of Leiden artists, and also of David Bailly
(c.1584-1657).
Willem Claesz. Heda (C.1594-C.1682) and
Pieter Claesz
(1597/98-1661), who both worked in Haarlem, dealt with the fleeting
nature of human life, painting in subdued colours; they influenced
Jan III van de Velde (c. 1620-62). In contrast, the splendid still
lifes painted in the second half of the century by
Willem Kalf
(1619-93) and Abraham van Beyeren (1620/21-90) are full of rich
colour and light effects, skilfully depicting various materials. The
Dutch love of nature and exploration meant that painters were keen
to depict a variety of subjects, especially botanical.
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David
Bailly
(b Leiden, 1584; d Leiden, Oct 1657).
Dutch painter and draughtsman. The son of a Flemish immigrant who was a
calligrapher and fencing-master, Bailly was apprenticed to a local
surgeon-painter and then to Cornelius van der Voort (1576–1624), a portrait
painter in Amsterdam. In the winter of 1608 he started out as a journeyman,
spending a year in Hamburg and then travelling through several German cities
to Venice and Rome. On the return voyage he visited several courts in
Germany, working for local princes, including the Duke of Brunswick-Wolfenbuttel.
While no works survive from the immediate period following his return to the
Netherlands in 1613, descriptions in old sale catalogues suggest that he may
have produced history paintings in the manner of his contemporaries Pieter
Lastman and the Pynas brothers.
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David Bailly
Self-Portrait with Vanitas Symbols
1651
Oil on wood, 65 x 97,5 cm
Stedelijk Museum De Lakenhal, Leiden |
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David Bailly
Vanitas Still Life with Portrait
ca. 1650
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Jan III van de Velde
Still Life: A Goblet of Wine,
Oysters and Lemons
1656
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Jan Jansz van de Velde III
(c. 1620 - 1662)
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Jan III van de Velde
Bodegon con fuente china, copa, cuchillo,
panes y fruta
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Jan III van de Velde
Still life with tall beer glass |
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Abraham van Beyeren
Still-Life
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Abraham van
Beyeren
(b The Hague,
1620–21; d Overschie, 1690).
Dutch painter. He painted seascapes as well as
fruit, flower, fish, game and banquet still-lifes.
He almost always signed these works with his
monogram AVB, but
he dated only a few. This, together with the
fact that he painted diverse subjects
simultaneously and his style changed little,
makes it difficult to establish a chronology. He
became a master in The Hague in 1640 and was
related by marriage to the fish painter Pieter
de Putter (before 1600–59). Van Beyeren lived in
Delft from 1657 to 1661 and was again in The
Hague between 1663 and 1669. He was then
recorded in Amsterdam, Alkmaar and Gouda before
settling in Overschie in 1678.
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Abraham van Beyeren
Large Still-life with Lobster
1653
Oil on canvas, 125,5 x 105,1 cm
Alte Pinakothek, Munich
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Abraham van Beyeren
Banquet Still-Life with a Mouse
1667
Oil on canvas
County Museum of Art, Los Angeles
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Abraham van Beyeren
Still-Life
Oil on canvas, 87 x 107 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
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Abraham van Beyeren
Banquet Still-Life
Oil on canvas, 99,5 x 120,5 cm
Mauritshuis, The Hague
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Abraham van Beyeren
Still-life with Fishes
Oil on canvas, 125 x 153 cm
Gemaldegalerie, Dresden
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see collection:
Jacob van Ruisdael
Ambrosius Bosschaert
Willem Heda (Claesz)
Pieter Claesz
Willem Kalf
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