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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 ... |
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 ... |
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... |
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. B... |
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 ... |
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 ... |
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 th... |
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 qua... |
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 ... |
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 elemen... |
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, Auctione... |
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... |
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... |
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 who... |
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... |
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, ... |
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... |
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 an... |
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 Piet... |
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 f... |
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 ... |
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... |
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 an... |
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 connect... |
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 ch... |
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 m... |
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 Hoo... |
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 inspi... |
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 peri... |
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 o... |
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 ... |
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 Prov... |
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... |
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 ... |
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 ... |
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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