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Much of her other work, especially in music-makers, was similar in nature to that of many of her contemporaries, such as her husband Molenaer, the brothers Frans and Dirck Hals, Jan Steen, and the Utrecht Caravaggisti Hendrick Terbrugghen and Gerrit van Honthorst. Their genre paintings, generally of taverns and other scenes of entertainment, catered to the tastes and interests of a growing segment of the Dutch middle class. She painted few actual portraits, and her only known history painting is David with the head of Goliath (1633), which does not depart from her typical portrait style, with a single figure close to the front of the picture space. |
In 1648, Theodore Schrevel, a Dutch commenter, observed: "There also have been many experienced women in the field of painting who are still renowned in our time, and who could compete with men. Among them, one excels exceptionally, Judith Leyster, called 'the true Leading star in art.'" |
Leyster and Frans Hals |
Although well-known during her lifetime and esteemed by her contemporaries, Leyster and her work were largely forgotten after her death. She was rediscovered in 1893, when a painting admired for over a century as a work of Frans Hals was recognized as hers. After the realization of Leyster's forgotten prominence and talent, she was posthumously criticized to draw distinctions between her and Frans Hals, despite 200 years of her work being thought of as his. In 1964, Whitney Chadwick quotes James Laver in her survey Women, Art, and Society as saying "Some women artists tend to emulate Frans Hals, but the vigorous brushstrokes of the master were beyond their capability. One has only to look at the work of a painter like Judith Leyster to detect the weakness of the feminine hand." |
The confusion – or perhaps deceit – may date to Leyster's lifetime. Sir Luke Schaud acquired a Leyster, The Jolly Companions, as a Hals in the 1600s. The work ended up with a dealer, Wertheimer of Bond Street, London, who described it as one of the finest Hals paintings. Sir John Millars agreed with the Wertheimer about the authenticity and value of the painting. Wertheimer sold the painting to an English firm for £4,500. This firm, in turn, sold the painting as a Hals to Thomas Lawrie in Paris. |
In 1893 the Louvre found Leyster's monogram under the fabricated signature of Hals. It is not clear when the false signature had been added. When the original signature was discovered, Thomas Lawrie sued the English firm, who in turn attempted to rescind their own purchase and get their money back from the art dealer, Wertheimer. The case was settled in court on May 31, 1893, with the plaintiffs (the unnamed English firm) agreeing to keep the painting for £3,500 + £500 costs. During the legal proceedings, there was no consideration for the work as an object of value under its new history: "at no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered". Another version of The Jolly Companions had been sold in Brussels in 1890 and bore Leyster's monogram "crudely altered to an interlocking FH." |
In 1893 Cornelis Hofstede de Groot wrote the first article on Leyster. He attributed seven paintings to her, six of which are signed with her distinctive monogram 'JL*'. Art historians since then have often dismissed her as an imitator or follower of Hals, although this attitude changed somewhat in the late 20th century. |
Apart from the lawsuit mentioned above, the nature of Leyster's professional relationship with Frans Hals is unclear; she may have been his student or else a friendly colleague. She may have been a witness at the baptism of Hals' daughter Maria in the early 1630s, since a "Judith Jansder" (meaning "daughter of Jan") was recorded as a witness, but there were other Judith Jansders in Haarlem. Some historians have asserted that Hals or his brother Dirck may have been Leyster's teacher, owing to the close similarities between their works. |
Public collections |
Museums holding works by Judith Leyster include the Rijksmuseum Amsterdam; the Mauritshuis, The Hague; the Frans Hals Museum, Haarlem; the Louvre, Paris; the National Gallery, London; and the National Gallery of Art, Washington DC. In 2022, the Currier Museum of Art purchased a Leyster painting to go with its painting by Jan Miense Molenaer |
In March 2021 Leyster's work was added to the "Gallery of Honor" at the Rijksmuseum. Leyster, Gesina ter Borch, and Rachel Ruysch are the first women to be included in the gallery. |
On December 19, 2022, Google featured her in a Google Doodle in the Netherlands, Iceland, Ireland, the United Kingdom, Singapore and the United States. |
Gallery |
See also |
Maria de Grebber |
List of paintings by Judith Leyster |
List of paintings by Frans Hals |
References |
Additional sources |
Chadwick, Whitney, Women, Art, and Society, Thames and Hudson, London, 1990. |
"Leyster, Judith" in Gaze, Delia, ed. Dictionary of Women Artists. 2 vols. Chicago: Fitzroy Dearborn, 1997. |
Welu, James A. and Pieter Biesboer. Judith Leyster: A Dutch Master and Her World, Yale University, 1993. |
External links |
Media related to Judith Leyster at Wikimedia Commons |
Christopher D. M. Atkins, "The Last Drop (The Gay Cavalier)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. |
2 artworks by or after Judith Leyster at the Art UK site |
Artist Profile at Artcyclopedia |
Works and literature on Judith Leyster |
Judith Leyster's Cat Paintings |
Jules Bastien-Lepage (1 November 1848 – 10 December 1884) was a French painter closely associated with the beginning of naturalism, an artistic style that grew out of the Realist movement and paved the way for the development of impressionism. Émile Zola described Bastien-Lepage's work as "impressionism corrected, sweetened and adapted to the taste of the crowd." |
His en plein air depictions of peasant life in the countryside were highly influential on many international artists, including George Clausen in England and Tom Roberts in Australia. He also won renown for his history paintings, among the most famous being Joan of Arc, now held at the Metropolitan Museum of Art in |
New York. |
Life and work |
Bastien-Lepage was born in the village of Damvillers, Meuse, and spent his childhood there. Bastien's father grew grapes in a vineyard to support the family. His grandfather also lived in the village; his garden had espaliered fruit trees of apple, pear, and peach up against the high walls. Bastien took an early liking to drawing, and his parents fostered his creativity by buying prints of paintings for him to copy. |
Education |
Jules Bastien-Lepage's first teacher was his father, himself an artist. His first formal training was at Verdun. Prompted by a love of art, he went to Paris in 1867, where he was admitted to the École des Beaux-arts, working under Cabanel. He was awarded first place for drawing, but spent most of his time working alone, only occasionally appearing in class. Nevertheless, he completed three years at the école. In a letter to his parents, he complained that the life model was a man in the pose of a mediaeval lutanist. During the Franco-Prussian war in 1870, Bastien fought and was wounded. After the war, he returned home to paint the villagers and recover from his wound. In 1873 he painted his grandfather in the garden, a work that would bring the artist his first success at the Paris Salon. |
Early work |
After exhibiting works in the Salons of 1870 and 1872, which attracted no attention, in 1874 his Portrait of my Grandfather garnered critical acclaim and received a third-class medal. He also showed Song of Spring, an academically oriented study of rural life, representing a peasant girl sitting on a knoll above a village, surrounded by wood nymphs. |
His initial success was confirmed in 1875 by the First Communion, a picture of a little girl minutely worked up in manner that was compared to Hans Holbein, and a Portrait of M. Hayern. In 1875, he took second place in the competition for the Prix de Rome with his Angels appearing to the Shepherds, exhibited again at the Exposition Universelle in 1878. His next attempt to win the Prix de Rome in 1876 with Priam at the Feet of Achilles was again unsuccessful (it is in the Lille gallery), and the painter determined to return to country life. To the Salon of 1877 he sent a full-length Portrait of Lady L. and My Parents; and in 1878 a Portrait of M. Theuriet and Haymaking (Les Foins). The last picture, now in the Musée d'Orsay, was widely praised by critics and the public alike. It secured his status as one of the first painters in the Naturalist school. |
Naturalism and acclaim |
After the success of Haymaking, Bastien-Lepage was recognized in France as the leader of the emerging Naturalist school. By 1883, a critic could proclaim that "The whole world paints so much today like M. Bastien-Lepage that M. Bastien-Lepage seems to paint like the whole world." This fame brought him prominent commissions. |
His Portrait of Mlle Sarah Bernhardt (1879), painted in a light key, won him the cross of the Legion of Honour. In 1879 he was commissioned to do a portrait of the Prince of Wales. In 1880 he exhibited a small portrait of M. Andrieux and an historical painting of Joan of Arc (now in the Metropolitan Museum of Art); and in the same year, at the Royal Academy, the small portrait of the Prince of Wales. In 1881 he painted The Beggar and the Portrait of Albert Wolf; in 1882 Le Père Jacques; in 1885 Village Love, in which we find some trace of Gustave Courbet's influence. His last dated work is The Forge (1884). |
Death and legacy |
Between 1880 and 1883 he traveled in Italy. The artist, long ailing, had tried in vain to re-establish his health in Algiers. He died in Paris in 1884, when planning a new series of rural subjects. His friend, Prince Bojidar Karageorgevitch, was with him at the end and wrote: |
At last he was unable to work anymore; and he died on the 10th of December, 1884, breathing his last in my arms. At his grave's head his mother and brother planted an apple-tree. |
In March and April 1885, more than 200 of his pictures were exhibited at the Ecole des Beaux-Arts. In 1889 some of his best-known work was shown at the Paris Exposition Universelle. |
Among his more important works, may also be mentioned the portrait of Mme J. Drouet (1883); Gambetta on his death-bed, and some landscapes; The Vintage (1880), and The Thames at London (1882). The Little Chimney-Sweep was never finished. A museum is devoted to him at Montmédy. A statue of Bastien-Lepage by Rodin was erected in Damvillers. An obituary by Prince Bojidar Karageorgevitch, appeared in the Magazine of Art (Cassell) in 1890. |
Impact on the reception of Impressionism |
The influential English critic Roger Fry credited the wider public's acceptance of the Impressionists, especially Claude Monet, to Bastien-Lepage. In his 1920 Essay in Æsthetics, Fry wrote: |
Monet is an artist whose chief claim to recognition lies in the fact of his astonishing power of faithfully reproducing certain aspects of nature, but his really naive innocence and sincerity was taken by the public to be the most audacious humbug, and it required the teaching of men like Bastien-Lepage, who cleverly compromised between the truth and an accepted convention of what things looked like, to bring the world gradually around to admitting truths which a single walk in the country with purely unbiassed vision would have established beyond doubt. |
Relationship with Marie Bashkirtseff |
Ukrainian-born painter Marie Bashkirtseff formed a close friendship with Bastien-Lepage. Artistically, she took her cue from the French painter's admiration for nature: "I say nothing of the fields because Bastien-Lepage reigns over them as a sovereign; but the streets, however, have not still had their... Bastien." Her best-known work in this naturalist vein is A Meeting (now in the Musée d'Orsay), which was shown to wide acclaim at the Paris Salon of 1884. By a curious coincidence she succumbed to chronic illness the same year as her colleague and friend. |
Art market |
The highest price reached by one of his paintings in the art market was when his Portrait of Sarah Bernhardt (1879) sold by $2,280,000 at Christie's, on 20 October 2022. |
Honours |
1883: Knight in the Order of Leopold. |
Paintings |
Notes |
References |
Sources |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Bastien-Lepage, Jules". Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Press. p. 502. |
André Theuriet, Bastien-Lepage (1885; English edition, 1892); L de Fourcaud, Bastien-Lepage (1885). |
Serge Lemoine, Dominique Lobstein, Marie Lecasseur, et al., Jules Bastien-Lepage 1848–1884 (Paris: Musée d'Orsay, 2007). |
Marnin Young, "The Motionless Look of a Painting: Jules-Bastien Lepage, Les Foins, and the End of Realism", Art History, vol. 37, no. 1 (February 2014): 38–67. |
External links |
Analysis of Joan of Arc |
Art Gallery Archived 6 September 2015 at the Wayback Machine at MuseumSyndicate.com |
Julius Caesar Ibbetson (29 December 1759 – 13 October 1817) was a British 18th-century landscape and watercolour painter. |
Early life and education |
Ibbetson was born at Farnley Moor, Leeds. He was the second child of Richard Ibbetson, a clothier from Yorkshire. According to his Memoir, his mother fell on the ice and went into premature labour, causing him to be delivered by caesarean section and resulting in a middle name he attempted to hide throughout his life. Ibbetson was probably educated at a local Moravian community and then by Quakers in Leeds. According to James Mitchell in the Oxford Dictionary of National Biography, the "unusual thoroughness" of his education "is reflected in the fluent prose, both of his published painting manuals and of his regular, often entertaining, and rewarding correspondence with patrons". Ibbetson was apprenticed to John Fletcher, a ship painter in Hull, from 1772 to 1777. He then moved to London, where for the next ten years he was primarily a picture restorer for a Clarke of Leicester Fields. In 1782 wrote an account of his life, and sent it to the artist Benjamin West which was transcribed by Joseph Farington in 1805. Around 1780, Ibbetson married his first wife, Elizabeth. |
Exhibitions and career |
Early work |
In 1785, Ibbetson began exhibiting at the Royal Academy with View of North Fleet. Mitchell calls George Biggin (1783), which is one of his earliest known works, "an accomplished full-length portrait in the Gainsborough tradition, [which] should be considered as a milestone in the development of an artist who was entirely self-taught". Through the efforts of Captain William Baillie in 1787, Ibbetson was made draughtsman to Colonel Charles Cathcart on the first British embassy to Peking (Beijing); he made many watercolor drawings of the animals and plants on the journey. While he was away, his Ascent of George Biggin, esq. from St. George's Fields, June 29th 1785 was exhibited at the Royal Academy to great critical and popular acclaim. The painting depicted the ascent of a balloon, designed by Vincenzo Lunardi, from St George's Fields in London. |
Later work |
In 1789, Ibbetson visited the Viscount Mountstuart at Cardiff Castle in Wales. He spent decades drawing the scenery there and, according to Mitchell, "[h]is detailed watercolours of iron furnaces, coal staithes, and copper mines foreshadow the work of Joseph Wright of Derby and J. M. W. Turner and constitute an important record of the early industrial developments in that region, but are less well known than his more numerous scenes of folk life and picturesque scenery." After a visit to the Isle of Wight in 1790, he began painting shipwrecks and smugglers. David Murray, 2nd Earl of Mansfield, and his wife commissioned Ibbetson to decorate Kenwood House, in 1794. This distracted him from the death of his wife and caring for their three children. Her death had "provoked a minor nervous breakdown, exacerbated by near destitution", but the Kenwood project relieved that stress. Four years later, he moved to Liverpool to work for Thomas Vernon. In 1801 he married his second wife, Bella Thompson in Grasmere, Westmorland. They settled in Ambleside and became friendly with the Lake Poets including William Wordsworth and Samuel Taylor Coleridge who became godfather to their daughter Caroline Bella Ibbetson. There are paintings by Ibbetson at Dove Cottage, Grasmere. |
Ibbetson acquired several generous patrons in Liverpool and in Edinburgh: William Roscoe, Sir Henry Nelthorpe, and the Countess of Balcarres. The last prompted him to write and publish his instruction manual An Accidence, or Gamut, of Painting in Oil (1803). In 1803, he met the Yorkshire philanthropist William Danby and in 1805 moved to Masham to be near him. The next 14 years of his life were the most settled of his life. |
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