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References |
Sources |
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Blanchard, Henri Pierre Léon Pharamond". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons. |
Philips Wouwerman (also Wouwermans) (24 May 1619 (baptized) – 19 May 1668) was a Dutch painter of hunting, landscape and battle scenes. He became prolific during the Dutch Golden Age and joined the Haarlem Guild of St. Luke. |
Life and work |
Philips Wouwerman was one of the most versatile and prolific artists of the Dutch Golden Age. Embedded in the artistic environment and tradition of his home town of Haarlem, Wouwerman made an important and highly influential contribution to the canon of seventeenth-century Dutch painting. His pictures were in demand du... |
Born in Haarlem in 1619, the son of a now altogether obscure painter named Pouwels Joostsz Wouwerman, little is known of his artistic schooling. According to Cornelis de Bie, he studied with Frans Hals (1581/85–1666), but the particular style of Hals didn't leave a footmark on his oeuvre. Apart from a short stay in Ham... |
Wouwerman started his artistic career with simple depictions of everyday life in the tradition of the bamboccianti by Pieter van Laer (1592/99–after 1642). His paintings of the mid-1640s often feature a diagonal slope of land, a tree which functions as a repoussoir, and figures accompanied by horses. Over the next thir... |
The first retrospective exhibition of Philips Wouwerman's work took place in Kassel, Gemäldegalerie Alte Meister, and in The Hague, The Royal Picture Gallers Mauritshuis, 2009/2010. |
Family |
At an early age, Wouwerman married Anna Pietersz. van Broeckhoff with whom he had ten children. They lived on the Bakenessergracht in a house that was also lived in by Haarlem painters Cornelis Gerritsz Decker and Hendrik de Meijer. Seven of the Wouwerman children survived and, after the death of their mother in 1670,... |
Output |
About 800 pictures were listed in John Smith's Catalogue raisonné (1829/1842) as the work of Philip Wouwerman. In Hofstede de Groot's enlarged Catalogue (1908) the number exceeds to 1200. In Birgit Schumacher's recently published Catalogue raisonné (2006), only about 570 pictures were listed as authentic works, as many... |
The oeuvre of Pieter (1623–1682) clearly manifests the influence of Philips with regard to the range of subjects, but regarding the artistic style, Pieter had quite one of his own. And Jan (1629–1666) was a rather autonomous landscape painter. Out of the countless followers, some of the most gifted artists working in W... |
His registered pupils were Johannes van der Bent, Hendrick Berckman, Eduard Dubois, Nicolas Ficke, Barent Gael, Anthony de Haen, Emanuel Murant, Matthias Scheits, Kort Withold, and his brothers. |
Selected works |
The White Horse, panel, 43.9 x 37.6 cm, Amsterdam, Rijksmuseum |
Horse and Dismounted Rider, panel, 32.3 x 36.2 cm, 1646, Leipzig, Museum der bildenden Künste |
Landscape with River and Bathers, canvas, 59 x 82 cm, Vaduz-Vienna, The Collections of the Prince of Liechtenstein |
Festive Peasants in an Extensive Landscape, canvas, 70 x 112 cm, 1653, Minneapolis, The Minneapolis Institute of Arts |
Winter Landscape with Wooden Bridge, panel, 28.5 x 36.5 cm, Berlin, Staatliche Museen, Gemäldegalerie |
A Horse Stable, canvas, 47 x 67 cm, London, The National Gallery |
The Rider's Halting Place, panel, 35.4 x 30.7 cm, Antwerp, Royal Museum of Fine Arts |
The Apple Grey at a Blacksmith, panel, 34.4. x 38.3 cm, Kassel, Gemäldegalerie Alte Meister |
Riding School and Watering Place, canvas, 82.5 x 127 cm, Vienna, Kunsthistorisches Museum |
Departure for the Hunt, panel, 45 x 64 cm, Dresden, Gemäldegalerie Alte Meister |
Landscape with a Hawking Party, canvas, 76 x 105 cm, Madrid, Museo Nacional del Prado |
Battle at a Mountainous Fortress, canvas, 69 x 82 cm, Dresden, Gemäldegalerie Alte Meister |
Cavalry at a Sutler's Booth, panel, 49.5 x 44.4 cm, London, Her Majesty Queen Elizabeth II., Buckingham Palace |
Lady and Gentleman at a Harbour, canvas, 51 x 71.3 cm, St Petersburg, The State Hermitage |
The Ascension of Christ, canvas, 85 x 68 cm, Brunswick, Herzog Anton Ulrich-Museum |
References |
Attribution |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Wouwerman, Philip". Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. p. 838. |
Further reading |
Philips Wouwerman (1619-1668). Exhibition Catalogue, Museumslandschaft Hessen Kassel/ Royal Picture Gallery Mauritshuis, The Hague, 2009/2010, ISBN 978-90-400-8592-5 |
Birgit Schumacher, Philips Wouwerman. The Horse Painter of the Golden Age, Davaco Publishers, Doornspijk 2006, ISBN 90-70288-67-2 |
Frederik J. Duparc, "Philips Wouwerman, 1619-1668", in: Oud Holland, 1993, vol. 107, no. 3, pp. 257–286 |
Birgit Schumacher, Studien zu Werk und Wirkung Philips Wouwermans', Diss. Munich 1989 |
Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, vol. 2, Esslingen and Paris 1908 (Reprint: Teaneck, NJ: Somerset House, 1976; A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, ... |
John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, vol. 1, pp. 199–412 and vol. 9, pp. 137–233, London 1829 and 1842 |
External links |
Media related to Philips Wouwerman at Wikimedia Commons |
103 artworks by or after Philips Wouwerman at the Art UK site |
www.wouwerman.org Works by Philips Wouwerman |
www.birgitschumacher.com Information on the catalogue raisonné of the paintings by Philips Wouwerman |
Works and literature |
Piero della Francesca ( PYAIR-oh DEL-ə fran-CHESK-ə, US also - frahn-; Italian: [ˈpjɛːro della franˈtʃeska] ; né Piero di Benedetto; c. 1415 – 12 October 1492) was an Italian painter, mathematician and geometer of the Early Renaissance, nowadays chiefly appreciated for his art. His painting is characterized by its se... |
Biography |
Early years |
Piero was born Piero di Benedetto in the town of Borgo Santo Sepolcro, modern-day Tuscany, to Benedetto de' Franceschi, a tradesman, and Romana di Perino da Monterchi, members of the Florentine and Tuscan Franceschi noble family. His father died before his birth, and he was called Piero della Francesca after his mother... |
He was most probably apprenticed to the local painter Antonio di Giovanni d'Anghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. He certainly took notice of the work of some of the Sienese artists active in San Sepolcro during his youth; e.g. Sassetta. In 1439... |
Mature work |
Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro. Three years later, he received his first commission, to paint the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro, which was completed in the early 1460s. In 1449 he executed several fresco... |
The Baptism of Christ, now in the National Gallery in London, was completed in about 1450 for the high altar of the church of the Priory of S. Giovanni Battista at Sansepolcro. Other notable works are the frescoes of The Resurrection in Sansepolcro, and the Madonna del parto in Monterchi, near Sansepolcro. |
Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta. In 1451, during that sojourn, he executed the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta in the Tempio Malatestiano, as well as a portrait of Sigismondo. In Rimini, Piero may have met the famous Renaissanc... |
In 1454, he signed a contract for the Polyptych of Saint Augustine in the church of Sant'Agostino in Sansepolcro. The central panel of this polyptych is lost, and the four panels of the wings, with representations of saints, are now scattered around the world. A few years later, summoned by Pope Nicholas V, he moved to... |
Frescoes in San Francesco at Arezzo |
In 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished in 1464. |
The History of the True Cross cycle of frescoes is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from legendary medieval sources as to how timber relics of the True Cross came to be found. These stories were collected in the Golden Legend of... |
Piero's activity in Urbino |
At some point, Giovanni Santi invited Piero to Urbino, where Piero "executed several commissions for Duke Federico da Montefeltro." The Flagellation is generally considered Piero's oldest work in Urbino (c. 1455–1470). It is one of the most famous and controversial pictures of the early Renaissance. As discussed in its... |
Another famous work painted in Urbino is the Double Portrait of Federico and his wife Battista Sforza, in the Uffizi. The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Federico and his wife. Other paintings made in Urbino are the monumental Monte... |
In Urbino Piero met the painters Melozzo da Forlì, Fra Carnevale, and the Flemish Justus van Gent, the mathematician Fra Luca Pacioli, the architect Francesco di Giorgio Martini, and probably also Leon Battista Alberti. |
Later years |
In his later years, painters such as Perugino and Luca Signorelli frequently visited his workshop. He completed the treatise On Perspective in Painting in the mid-1470s to 1480s. By 1480, his vision began to deteriorate, but he continued writing treatises such as Short Book on the Five Regular Solids in 1485. It is doc... |
Criticism and interpretation |
In a 2013 exhibition, the Frick Collection in New York collected seven of the eight paintings of Piero known to exist in the United States. Of the seven paintings in the exhibit, critic Jerry Saltz writing in New York magazine singled out Piero's Virgin and Child Enthroned With Four Angels for its exemplary qualities. |
Saltz wrote, "The Virgin and child are elevated two steps. They are in a world itself apart from this world apart. Mary isn't looking at her child and looks instead at the rose he reaches for. You begin to glean the revelation she is having. The flower represents love, devotion, and beauty. It also symbolizes blood and... |
By contrast, Walter Kaiser, reviewing the exhibition in The New York Review of Books, wrote, "The most splendid picture in the Frick exhibition is the magnificent figure of Saint Augustine from the Museu Nacional de Arte Antiga in Lisbon, a companion to Saint John the Evangelist [owned by the Frick Collection] on the S... |
Work in mathematics and geometry |
Piero's deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work. |
In his youth, Piero was trained in mathematics, which most likely was for mercantilism. Three treatises written by Piero have survived to the present day: Trattato d'Abaco (Abacus Treatise), De quinque corporibus regularibus (On the Five Regular Solids) and De Prospectiva pingendi (On Perspective in painting). The subj... |
In the late 1450s, Piero copied and illustrated the following works of Archimedes: On the Sphere and Cylinder, Measurement of a Circle, On Conoids and Spheroids, On Spirals, On the Equilibrium of Planes, The Quadrature of the Parabola, and The Sand Reckoner. The manuscript consists of 82 folio leaves, is held in the co... |
Inspirations |
Bohuslav Martinů wrote a three movement work for orchestra entitled Les Fresques de Piero della Francesca. Dedicated to Rafael Kubelik, it was premiered by Kubelik and the Vienna Philharmonic at the 1956 Salzburg Festival. |
Piero's geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like Giorgio de Chirico, Massimo Campigli, Felice Casorati, and Balthus. |
Selected works |
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