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Notes |
References |
Falkenberg, R. L. (1995), "Pieter Aertsen, Rhyparographer", 1995 |
Falkenberg, R. L. (1988), Iconographical connections between Antwerp landscapes, market scenes and kitchen pieces, 1500-1580, Oud Holland, 102, 1988 |
Kwak, Zoran, "Taste the Fare and Chew it with Your Eyes': A Painting by Pieter Pietersz and the Amusing Deceit in Sixteenth- and Seventeenth-Century Dutch and Flemish Kitchen Scenes", in On the Edge of Truth and Honesty: Principles and Strategies of Fraud and Deceit in the Early Modern Period, edited by Toon van Houdt and others, BRILL, 2002, ISBN 9004125728, 9789004125728, google books |
Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0136235964 |
Sullivan, Margaret A., Aertsen's Kitchen and Market Scenes: Audience and Innovation in Northern Art, The Art Bulletin, Vol. 81, No. 2 (Jun., 1999), pp. 236–266, JSTOR |
External links |
Media related to Pieter Aertsen at Wikimedia Commons |
Pieter Boel or Peeter Boel (baptized on 10 October 1622 – 3 September 1674) was a Flemish painter, printmaker and tapestry designer. He specialised in lavish still lifes and animal paintings. He moved to Paris, where he worked in the gobelin factory and became a painter to the king. Pieter Boel revolutionized animal painting by working directly from live animals in a natural setting. He thus arrived at representations of animals showing them in their natural, characteristic poses. He had many followers in France. |
Life |
He was baptized in Antwerp on 10 October 1622 as the son of Jan Boel and Anna van der Straeten. He was member of a family of artists. His grandfather Jeroom had been a painter who was registered as a master in the Antwerp Guild of Saint Luke in 1620. His father was an engraver and his older brother Quirijn de Younger became an engraver. After studying drawing with his father he became a pupil of Jan Fijt, a well-known still life and animal painter. Jan Fijt had studied under the leading Flemish animal and still life painter Frans Snyders. |
He is believed to have traveled to Italy in the 1640s or in 1651. His trip brought him to Genoa and Rome. In Genoa he stayed with fellow Antwerp painter and art dealer Cornelis de Wael who was a long-term resident that city and played a pivotal role in giving Flemish artists arriving in Genoa an opportunity to work. Boel later married de Wael's niece upon his return to Antwerp. |
Upon his return to Antwerp, where he was registered in the local Guild of Saint Luke as a wijnmeester (wine master) (a title reserved for the children of members of the guild) in 1650–51. He married Maria Blanckaert, daughter of the painter Jan Blanckaert. His wife's mother was a sister of the painters and art dealers Cornelis de Wael (whom he knew from Genoa) and Lucas de Wael. Two of the couple's sons Jan Baptist Boel the Younger and Balthasar-Lucas Boel became artists. |
By 1668–1669 he had moved to Paris where he formed part of the group of Flemish artists who had congregated around Charles Le Brun and resided at the Hôtel Royal des Gobelins. The court painter (Premier peintre du roi) Charles Le Brun had been put in charge of the Gobelins Manufactory, the royal tapestry works created in 1663 as well as the decoration of the various new buildings being constructed for the King. To realize these projects Le Brun surrounded himself with a large group of artists including a number of Flemish artists such as the sculptor Gerard van Opstal and the painters Adam Frans van der Meulen, Abraham Genoels, Adriaen Frans Boudewijns and Peter van Boucle. As a resident of the Hôtel Royal des Gobelins, Boel could practice his art without having to register with the local Guild of Saint Luke or the Académie royale de peinture et de sculpture. On three occasions, his name appears in the Comptes des Bâtiments du Roi (Accounts of the Royal Buildings), including for providing designs for the Gobelins tapestry works. Boel was closely related to two Flemish artists, who also lived at the Gobelins: Adam Frans van der Meulen and Gerard Scotin, an engraver. In 1671 he was a witness to the wedding of Scotin. Van der Meulen's wife was the second witness. Scotin engraved a number of Boel's designs of animals and may also have been the publisher of engravings made by Boel himself. |
He was appointed peintre ordinaire (ordinary painter) by King Louis XIV in 1674. As the king's ordinary painter, Boel was commissioned to create 'paintings of various animals to be used in the tapestries of the Gobelins Manufactory. He died on 3 September 1674 of that year. Adam Frans van der Meulen was a witness in the burial act. |
He was the teacher of his sons and David de Koninck. |
Work |
Boel principally painted still lifes including flower still lifes, hunting still lifes, animal and fish still lifes, vanitas paintings and still lifes of weapons. He also painted some landscapes. Since most of his works are undated, it is difficult to establish a chronology for his work. Boel achieved a very high quality in his work. It is believed that a number of his compositions may have had their signature removed so that they could pass as works by Frans Snyders or his master Jan Fijt. Only recently a number of still lifes in museums, which were formerly given to Fijt, have been re-attributed to Pieter Boel. |
Boel follows to a large extent the style of his teacher Jan Fijt, in particular in his smaller compositions featuring a hare or a few birds in the open air. Boel's compositions differ from Fijt's works in their restraint and the smoother and more controlled handling of the paint. His palette also differs from Fijt's in his preference for accents of blue, red and pink. |
During his stay in Italy Boel got to know the work of the Genoese artist Giovanni Benedetto Castiglione and the still life painter Giuseppe Recco. He learned from these Italian masters to heighten the dramatic effect of his canvases by emphasizing the shadows. He also used red drapes in the background, a Baroque element par excellence, to enhance the atmosphere of his compositions. |
Boel is known to have collaborated with fellow Antwerp artists Erasmus Quellinus II and Jacob Jordaens, who painted the human figures in his compositions. Conversely, he also added still life elements to other artists' works. This is believed to be the case in the Portrait of the van de Werve Family (c. 1661, Auctioned at Sotheby's on 7 July 2005, London, lot 10) where Boel is believed to have added the still life on the left and the parrot in the portrait painted by Antwerp painter Pieter Thijs. |
Boel was accomplished in large-scale vanitas paintings depicting an abundance of fruit, flowers, game and precious objects. His masterpiece in this genre is the Vanitas Still Life in the Palais des Beaux-Arts de Lille. |
Pieter Boel revolutionized animal painting. Whereas artists had contented themselves before with making static studies from stuffed animals, Boel drew and painted his animals from life in the menagerie at Versailles. He thus represented animals in their natural poses and devoid of any emblematic or similar preconceived notion of the animals. His way of portraying animals has been described as sympathetic with the animals. This was not in line with the prevailing view of animals as simple machines or beasts. His naturalism influenced a long line of great animal artists, from the painter Jean-Baptiste Oudry to the sculptor Antoine-Louis Barye. Boel was particularly adapt at rendering various textures, especially feathers. |
His animal studies were used as models for the animals appearing in the borders and foreground of a series of large tapestries, referred to as 'The Months' or 'The Royal Houses' (Maisons Royales) produced at the Gobelins tapestry workshop. Each of the tapestries represents a different royal residence. Conscious of the value of Boel's animal repertoire, the Gobelins workshop kept the entire set of Boel's painted and drawn studies numbering 81 in total. They represent mammals, birds, a tortoise, a lobster and a lizard. They are painted against a red or pink background. He painted the fur, plumage, paws and eyes of the animals with a free brush. The same animal is in some studies represented in different positions. The species are mixed in studies, but it is rare for furry animals and animals with plumage to be included in the same study. The French painter François Desportes copied several of his paintings and as a result, it was believed that the original drawings were by Desportes. It is only after it was confirmed that the originals had been made by Boel that Boel's reputation as an animal painter was re-established. Charles Le Brun used Boel's studies for his own works. |
References |
External links |
Media related to Pieter Boel at Wikimedia Commons |
Pieter Hendricksz. de Hooch (Dutch: [ˈpitər ˈɦɛndrɪksoːn də ˈɦoːx]; also spelled Hoogh or Hooghe; bapt. 20 December 1629 – after 1683), was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. He was a contemporary, in the Delft Guild of St. Luke, of Jan Vermeer with whom his work shares themes and style. De Hooch was first recorded in Delft on 5 August 1652, when he and another painter, Hendrick van der Burgh witnessed the signing of a will. He was active in 1683, but his date of death is unknown (his son Pieter died in 1684, a date often wrongly given for the father). |
Biography |
De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife, baptised at the Reformed Church in Rotterdam in 1629. He was the eldest of five children and outlived all of his siblings, evidently raised in a working class home. Though, his father was described as a "master bricklayer", hence a skilled artisan required to be a member of the guild. Little is known of his early life, and most archival evidence suggests he worked in Rotterdam, Delft, and Amsterdam. According to his first biographer Arnold Houbraken, he studied art in Haarlem under the landscape painter Nicolaes Berchem at the same time as Jacob Ochtervelt and was known for his "kamergezichten" or "room-views" with ladies and gentlemen in conversation. But de Hooch's work seems to continue in the spirit of Hendrik Sorgh, an older Rotterdam painter who had a special affinity for organising figures in interiors. |
Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange in Rotterdam. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he moved in 1652, settling on Oude Delft 161 with de la Grange. Later, he lived next to the former Saint Hieronymus convent, once situated between Oude Delft and Westvest. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings. |
De Hooch was married in Delft in 1654 to Jannetje van der Burch, possibly sister of Hendrick van der Burgh, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655 (two years after Vermeer). Though, he must have faced financial difficulties, as he was unable to pay the admission fee of 12 guilders. His daughter Anna was born in Delft on 14 November 1656. Based on the fact that his wife attended a baptism in Amsterdam in 1660, it has been determined that he moved to Amsterdam by then, though the success of the trekschuit by then meant that a trip to Amsterdam could be made easily in a day. |
Little is known of de Hooch's living arrangements in Amsterdam, though it has been established that he had contact with Emanuel de Witte through a lawsuit brought against de Witte. The burial records in Amsterdam for two of de Hooch's children, dated June 1663 and March 1665, indicate that he resided on Regulierspad and Engelspad, respectively. These "paths" were situated outside the old city walls and were known for accommodating some of the city's poorest inhabitants, sharply contrasting his affluent clients in Amsterdam. In 1668, he was living in the Konijnenstraat near the Lauriergracht, where he stayed for the next two years at least. His third son was baptized in 1672. In 1674, de Hooch's financial situation was meagre enough to escape the tax registers entirely, likely a result of the declining art market in the Dutch Republic, following the onerous Rampjaar, which hugely strained the economy and all facets of Dutch cultural activity. In his later years, de Hooch painted more, and often larger paintings, measuring over 100 centimetres. |
The date of his death is unknown. For a significant period, it was believed that de Hooch died in 1684 as a resident in the Amsterdam dolhuis, a lunatic asylum. Despite this, official records from that institution reveal that the Pieter de Hooch who died there was, in fact, the artist's son, who also bore the name Pieter. The registration of his son Pieter Pietersz. de Hooch at the Dolhuis in 1679 is noted as the last record of de Hooch in Amsterdam. |
In 2017 the Turing Foundation sponsored a new research project for the Delft Prinsenhof museum and the Rijksmuseum to work on a new overview exhibition focussing on the works in their collection, to be presented in a combined exhibition 2019–2020. |
Works |
The early work of de Hooch was mostly composed of scenes of soldiers and peasants in stables and taverns in the manner of Adriaen van Ostade, though he used these to develop great skill in light, colour, and perspective rather than to explore an interest in the subject matter. In these merry company compositions, the focal point is not dispersed among numerous figure groups, in contrast to the soldier paintings of other artists. Instead, emphasis is concentrated on a principal group illuminated directly by the sun, which prominently stands out against a dark background, in the style of chiaroscuro. These works frequently showcase colour combinations typical of the artist's later period, such as a vivid vermilion and lemon yellow, often complemented by a warm dark green or blue in the shadows. Occasionally, backgrounds open into brightly lit adjoining rooms, and lighted figures may be framed in doorways, known as a 'doorsien', literally a 'see through'. The contrast between light and shadow tends to be accentuated, with sunlit portions of the canvas appearing cooler and paler compared to his later works. Notably, De Hooch's mastery is most evident when portraying figures in repose, exemplified in two masterpieces painted around 1654 - one housed in the Palazzo Corsini and the other in the London National Gallery - which mark the culmination of his early period. |
De Hooch's early artistic development is evidenced by the maturity exhibited in his paintings executed around 1655. By 1654, he had attained a zenith in depicting soldier scenes, a focus that persisted into the initial years of his marriage. After starting his family in the mid-1650s, he switched his focus to domestic scenes. These were possibly of his own family, though his works of well-to-do women breastfeeding and caring for children could also indicate that he had attended his mother on her rounds as a midwife. Evidence also suggests that de Hooch may have been employed as a servant under Justus de la Grange, an experience which likely influenced his empathetic and nuanced portrayal of servants and domestic workers in his paintings. His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. From the fact he dated a whole series in 1658, whilst he dated very few others, suggests he himself recognised the importance of these paintings. |
These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch. The themes and compositions are also comparable between De Hooch and Vermeer. 19th-century art historians had assumed that Vermeer had been influenced by de Hooch's work, and indeed de Hooch first demonstrated a special interest in combining the figure with interior geometry. He succeeded in blending the South Holland techniques of perspective and interior space construction with powerful naturalism and focus on figures, a style undoubtedly influenced by the prominent genre painters of his time. An x-ray of Woman Weighing Gold Coin shows that De Hooch had first tried to paint another figure in the empty chair, pointing to his canvas being the more original model that Vermeer quoted. Another signature work of Vermeer, The Love Letter, is also said to have been inspired by de Hooch, and paintings of Vermeer have been found to have posthumously been inscribed with the signature of de Hooch, perhaps in attempt to inflate the value of the then unknown Vermeer's paintings.In the late 1650s, Pieter de Hooch pioneered a new genre of painting that showcased unprecedented spatial order and naturalism. In tranquil depictions of homes and courtyards, which appear casually observed and informal, are carefully composed with a sophisticated grasp of perspective and a fine attention to aerial accuracy. Many of these subtly revolutionary paintings revisit themes from his early works, such as merry companies with drinking soldiers, accompanied by their hostesses. However, the dimly lit stables and taverns of his earlier period are replaced by sunlit interiors, gardens, and courtyards of the middle class. De Hooch's cityscapes were some of the last Dutch painting specialties to emerge. Along with Fabritius' A View of Delft, Pieter de Hooch's depictions of courtyards, bleaching grounds, and street scenes often feature prominent genre figures and are notable for their early focus on urban environments. These works are among the first to emphasise cityscapes, cropping up mainly in de Hooch's time in Delft, where his works feature important buildings such as the Oude Kerk, Nieuwe Kerk, and the rooftop of the newly built Amsterdam Town Hall. Also featured are areas of residence for de Hooch, including courtyards similar to those found behind old Delft homes around the Binnenwatersloot where his wife lived. These edifices were often arranged fictitiously, bringing many important buildings into one scene. De Hooch also shared themes and compositions with Emanuel de Witte, though De Witte soon devoted himself mainly to painting church interior scenes after moving to Amsterdam in 1651. De Witte seems more preoccupied with the rooms themselves, filling his paintings with objects, whilst de Hooch was more interested in people and their relationships to each other, rarely leaving the background of pictures unexplored. This was frequently exhibited, often to exhibit religious iconography or as an empathetic introspection into the lives of the subjects. |
In the 1660s, he began to paint for wealthier patrons in Amsterdam who gained their wealth through increased trade and stock exchanges in a time of unrivalled prosperity, coinciding with de Hooch's premier works, during his Delft-Amsterdam transition. During this period, he was known for upscale merry company scenes and family portraits in opulent interiors with marble floors and high ceilings. During his time in Amsterdam, he continued to make his domestic scenes, but both the interiors and their occupants appear more opulent. With the change in setting, his art evolved to feature cooler colours, more substantial figures, and a technique marked by greater precision. Lacking entrée to the homes of the aristocracy, de Hooch conceived the idea of utilising the newly-built City Hall as a background for his social scenes, a marble-covered setting once considered the eighth wonder of the world. He was thus enabled to paint accurate architectural settings, and the interiors, and to some extent, the light and colour schemes in these paintings are extremely successful. The reference of these public buildings is likely accountable for the overrepresentation of wealth in Dutch households. These works are often associated with the Leidse Fijnschilders, notable for their meticulously detailed paintings, which commanded very high prices. Though, the price of de Hooch's works did not garner the same prices as the Fijnschilders' until the early nineteenth century, when interest in his works increased, as English collectors, including George IV, Sir Robert Peel, and the Duke of Wellington acquired works by de Hooch. Before this period, his paintings commanded a smaller price than that of Vermeer's, and only a fraction of that of Dou's or van Mieris'. |
De Hooch also portrayed courting couples engaged in skittle playing, with the finest example on display at Waddesdon Manor. This piece was created shortly after his move to Amsterdam and exemplifies his shift from simple Delft courtyards to the depiction of early country house gardens. The skittle-playing theme connects to the imagery of the "Garden of Love" and "Game of Love" found in both high art and popular print culture. The woman gazing out at the viewer serves as the central figure in this playful "Sport of Love." |
Most scholars believe that de Hooch's work after around 1670 became more stylised and deteriorated in quality, describing de Hooch as having "quickly lost his inspiration and charm." However, these criticisms are often shaken off as they judge his work by the same aesthetic criteria as the Delft pictures; not by the changing standards of post-1670 Dutch art and the disasterous Raampjaar which claimed many contemporaries careers along with it. This included time-renowned masters such as Jan Steen, who applied for a licence to run a tavern. |
Possibly, it may be that his work was affected by his distress at the death of his wife in 1667 at age 38, leaving him with a young family. During his Amsterdam period, de Hooch encountered less success when revisiting motifs from his Delft era, such as depictions involving a young mother with her child and a serving maid, or when he revisited the soldier scenes reminiscent of his earlier days. Though facing minor success with reinterpretations of his Delft period, these instances of self-repetition are devoid of fresh impressions. The paintings are perceived as having an exaggeratedly dark overall tone, and certain prominent colours, notably a sullen vermillion and a cold blue prevalent in the shadows, characterised as harsh. Remarkably, nearly 50% of de Hooch's works date to the last 15 years of his activity, likely to compensate for lower compensation in the wake of the Rampjaar. Additionally, these works are described as appearing lifeless and cumbersome in outline, with a perceived falseness in their structural composition. An anonymous writer in The Connoisseur quoted remarks on late de Hooch, writing, "[He] sacrifices his individuality to the taste of the time." Upon the aquisition of A Musical Party in a Courtyard by the National Gallery, London in 1916, a debate was provoked in the House of Commons, and the Gallery's Board of Trustees was censored. Writers in The Connoisseur and The Burlington Magazine wrote "an act of folly on the part of the Trustees" and "Not to mince matters, it is a poor picture, a work of the painter's late and bad period." respectively. |
Legacy |
Pieter de Hooch's influence persisted under the misnomer of the "De Hooch School." Although there are no records of him having formal students, his work resonated with numerous artists, including van der Burgh and Pieter Janssens Elinga, the latter of whom likely based his painting Woman with a Pearl Necklace on de Hooch’s style, with many of his other works reflecting de Hooch’s Delft period. Emmanuel de Witte is also said to have been influenced by his younger colleague. |
The artistic relationship between de Hooch and Ludolf de Jongh remains speculative, as de Jongh was a generation older than de Hooch. Nevertheless, it seems they had a mutual influence on each other. While de Jongh drew inspiration from de Hooch’s later depictions of courtyards and gardens, de Hooch may have been inspired by de Jongh in developing the Koortegardjes genre. Some have theorised a triangular artistic relationship between de Hooch, de Jongh, and Jacob Ochtervelt, all native Rotterdammers, evidenced by their distinctive approaches to soldier paintings. |
De Hooch’s legacy enjoyed a resurgence in the 18th century, as admiration for his work grew. Cornelis Troost, for instance, owned one of his paintings and created portraits in line with de Hooch's Delft period style. Artists such as Abraham Van Strij, Jan Ekels, and Wybrand Hendrick also drew inspiration from this period. Numerous 18th-century drawings after de Hooch’s works exist, created by artists like Frans Decker, Cornelis van Noorde, Aart Schouman, Hermanus Numan, and Reinier Vinkeles. His legacy continued to thrive into the 19th century with the formalisation of art evaluation methods, as critic Théophile Thoré-Bürger praised de Hooch in his Salon reviews. This led artists like Jean-François Millet to take a profound interest in his work. As a result, the value of de Hooch’s paintings soared, and some works by other Dutch Golden Age artists, such as Vermeer’s The Art of Painting, were falsely attributed to de Hooch in order to increase their market price. Marcel Proust also admired de Hooch’s interiors, referencing them in Swann's Way to evoke the protagonist's feelings of love. During the 20th century, several works thought to be de Hooch originals were revealed as forgeries, after an unfinished "de Hooch" painting was discovered in Han van Meegeren's studio in 1945. |
Art historian Peter C. Sutton argues that de Hooch's later works are largely responsible for the diminished appreciation of his art, advocating that his body of work should be judged without the bias of his weaker, later canvases. |
Gallery |
See also |
List of paintings by Pieter De Hooch |
Delft School |
References |
Sources |
External links |
A Game of Ninepins at Waddesdon Manor |
From Dou to De Hooch blog article, Waddesdon Manor |
"Pieter de Hooch online" |
Works and literature on Pieter de Hooch |
"Pieter de Hooch" . Encyclopædia Britannica. Vol. XII (9th ed.). 1881. p. 144. |
Vermeer and The Delft School, exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF) |
The Milkmaid by Johannes Vermeer, exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF) |
Fifteenth- to eighteenth-century European paintings: France, Central Europe, the Netherlands, Spain, and Great Britain, collection catalog from The Metropolitan Museum of Art (fully available online as a PDF) |
19 artworks by or after Pieter de Hooch at the Art UK site |
Pieter Jansz. Saenredam (9 June 1597 – buried 31 May 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors such as Interior of St Bavo's Church in Haarlem (1636) and Interior of the Sint-Odulphuskerk in Assendelft. |
Biography |
Saenredam was born in Assendelft, the son of the Northern Mannerist printmaker and draughtsman Jan Pietersz Saenredam whose sensuous naked goddesses are in great contrast with the work of his son. In 1612, Saenredam moved permanently to Haarlem, where he became a pupil of Frans de Grebber. In 1623, he became a member of the Haarlem Guild of St. Luke. A drawing in the British Museum by his friend Jacob Van Campen shows him to be very short and hunch backed. He died in Haarlem. |
Saenredam was a contemporary of the painter-architects Jacob van Campen, Salomon de Bray, and Pieter Post. |
Works |
Saenredam specialized in the representation of church interiors. These pictures were based on precise measurements of the building and meticulously rendered sketches, done on site, in pencil, pen, and chalk, after which washes were applied. Painting took place in the studio, often years after the studies were made. |
Saenredam's emphasis on even light and geometry is brought out by comparing his works with those of the rather younger Emanuel de Witte, who included people, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Unlike de Witte's, Saenredam's views are usually roughly aligned with a main axis of the church. |
Saenredam's paintings frequently show medieval churches, usually Gothic, but sometimes late Romanesque, which had been stripped bare of their original decorations after the iconoclasm of the Protestant Reformation. Although Utrecht was the centre of the remaining Catholic population of the mainly Calvinist United Provinces, all the old churches were retained by the Protestants. The drawing for Saenredam's Interior of St. Martin's Cathedral, Utrecht (above) is typical. As a Catholic church the cathedral had been highly decorated. Then, in the Dutch Revolt the church fell into Protestant hands, it was ‘cleaned’ of Catholic influences. The altarpieces and statuary were removed, and the walls and ceiling were white washed. |
Alternatively, the paintings of church interiors by Saenredam and other 17th-century Dutch painters have been interpreted as having less to do with religion and more with the new-found interest in perspective and with the Dutch interpretation (known as Dutch Classicism) of Palladio’s theories of proportion, balance and symmetry. |
In any case, Saenredam wanted to record this time of change by documenting the country’s buildings. Many artists before him had specialized in imaginary and fanciful architecture, but Saenredam was one of the first to focus on existing buildings. According to the J. Paul Getty Trust "Saenredam’s church paintings...owe their poetry to his remarkable blend of fact and fiction. He began by making site drawings of buildings that record measurements and detail with archaeological thoroughness." This meticulous preparation helped him to create such accurate and enchanting paintings. The measurements aided him in using scientific linear perspective, just like Andrea Pozzo. He was able to use his measurements to create a realistic image with depth. |
There is a small number of Saenredam's works in British collections but the Utrecht Archives houses a large number of Saenredam's drawings. In 2000–2001, the Centraal Museum at Utrecht held a major exhibition of his drawings and paintings. |
Perhaps his best known works are a matching pair of oil paintings both titled Interior of the Buurkerk, Utrecht. One hangs in London's National Gallery, the other in the Kimbell Art Museum in Fort Worth, Texas. In their simplicity and semi-abstract formalism, they foreshadow more modern works such as those of Mondrian and Feininger. |
In July 2012, a picture of Saenredam's village at Assendelft was sold at Christie's for more than £3,500,000. Six months earlier it was entered into a Christie's sale advertised as by a follower of Saenredam with an estimate of between £3,000-5,000 before being withdrawn from sale. |
References |
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