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Gage, John T., "The Technique of Seurat: A Reappraisal," Art Bulletin 69:3 (87 September) |
Halperin, Joan Ungersma, Félix Fénéon: Aesthete and Anarchist in Fin-de-Siècle Paris, New Haven, CT: Yale University Press, 1988 |
Homer, William Innes, Seurat and the Science of Painting, Cambridge, MA: MIT Press, 1964 |
Lövgren, Sven, The Genesis of Modernism: Seurat, Gauguin, Van Gogh & French Symbolism in the 1880s, 2nd ed., Bloomington, IN: Indiana University Press, 1971 |
Rewald, John, Cézanne, new ed., NY: Abrams, 1986 |
Rewald, Seurat, NY: Abrams, 1990 |
Rewald, Studies in Impressionism, NY: Harry N. Abrams, 1986 |
Rewald, Post-Impressionism, 3rd ed., revised, NY: Museum of Modern Art, 1978 |
Rewald, Studies in Post-Impressionism, NY: Harry N. Abrams, 1986 |
Rich, Daniel Catton, Seurat and the Evolution of La Grande Jatte (University of Chicago Press, 1935), NY: Greenwood Press, 1969 |
Russell, John, Seurat, (1965) London: Thames & Hudson, 1985 |
Seurat, Georges, Seurat: Correspondences, témoignages, notes inédites, critiques, ed., Hélène Seyrès, Paris: Acropole, 1991 (NYU ND 553.S5A3) |
Seurat, ed., Norma Broude, Seurat in Perspective, Englewood Cliffs, NJ: Prentice-Hall, 1978 |
Smith, Paul, Seurat and the Avant-Garde, New Haven, CT: Yale University Press, 1997 |
External links |
Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées |
Seurat, Georges, Musée d'Orsay Archived 1 April 2019 at the Wayback Machine |
Port-en-Bessin, Entrance to the Harbor in the MoMA Online Collection |
George Seurat: The Drawings in the MoMA Online Collection (requires Flash) |
Gerard David (c. 1460 – 13 August 1523) was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his life survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515. He was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges. Like many painters of his period, his reputation diminished in the 17th century until he was rediscovered in the 19th century. |
Life |
He was born in Oudewater, now located in the province of Utrecht. His year of birth is approximated as c. 1450–1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his Virgin among the Virgins. He is believed to have spent time in Italy from 1470 to 1480, where he was influenced by the Italian Renaissance. He formed his early style under Albert van Oudewater in Haarlem, and moved to Bruges in 1483, where he joined the Guild of Saint Luke in 1484. |
Upon the death of Hans Memling in 1494, David became Bruges' leading painter. He became dean of the guild in 1501, and in 1496 married Cornelia Cnoop, daughter of the dean of the goldsmiths' guild. David was one of the town's leading citizens. |
Ambrosius Benson served his apprenticeship with David. Around 1519 they had a dispute over a number of paintings and drawings which Benson had collected from other artists. David refused to return the materials because Benson owed him a large debt. Benson sought legal recourse in court and after he won, David was condemned to a prison term. |
He died on 13 August 1523 and was buried in the Church of Our Lady in Bruges. |
Style |
David's surviving work mainly consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream like serenity, achieved through soft, warm and subtle colourisation, and masterful handling of light and shadow. He is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting. His ability with landscape can be seen in the detailed foliage of his Triptych of the Baptism and the forest scene in the New York Nativity. |
Many of the art historians of the early 20th century, including Erwin Panofsky and Max Jakob Friedländer saw him as a painter who did little but distill the style of others and painted in an archaic and unimaginative style. However today most view him as a master colourist, and a painter who according to the Metropolitan Museum of Art, worked in a "progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition." |
In his early work David followed Haarlem artists such as Dirk Bouts, Albert van Oudewater, and Geertgen tot Sint Jans, though he had already given evidence of superior power as a colourist. To this early period belong the St John of the Richard von Kaufmann collection in Berlin and the Salting's St Jerome. In Bruges he came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures. |
He visited Antwerp in 1515 and was impressed with the work of Quentin Matsys, who had introduced a greater vitality and intimacy in the conception of sacred themes. Together they worked to preserve the traditions of the Bruges school against influences of the Italian Renaissance. |
Works |
The works for which David is best known are the altarpieces painted before his visit to Antwerp: the Marriage of St Catherine at the National Gallery, London; the triptych of the Madonna Enthroned and Saints of the Brignole-Sale collection in Genoa; the Annunciation of the Sigmaringen collection; and above all, the Madonna with Angels and Saints (usually titled The Virgin among the Virgins), which he donated to the Carmelite Nuns of Sion at Bruges, and which is now in the Rouen museum. |
Only a few of his works have remained in Bruges: The Judgment of Cambyses, The Flaying of Sisamnes and the Baptism of Christ in the Groeningemuseum, and the Transfiguration in the Church of Our Lady. |
The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, some believed that for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art. |
Even in his best work he had only given newer variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902 Gruuthusemuseum, Bruges exhibition of early Flemish painters. |
He also worked closely with the leading manuscript illuminators of the day, and seems to have been brought in to paint specific important miniatures himself, among them a Virgin among the Virgins in the Morgan Library, a Virgin and Child on a Crescent Moon in the Rothschild Prayerbook, and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death. |
Less known but also of high quality are the works of David found in Spanish public collections. The Prado Museum in Madrid owns a table "Rest on the flight into Egypt" resembling the one in the Royal Museum of Fine Arts in Antwerp. The Prado also holds another two Works by the painter, one of them only attributed. Another one of the Spanish capital's Museums, The Thyssen-Bornemisza holds a "Crucifixión" from 1475. |
Legacy |
At the time of David's death, the glory of Bruges and its painters was on the wane: Antwerp had become the leader in art as well as in political and commercial importance. Of David's pupils in Bruges, only Adriaen Isenbrandt, Albert Cornelis, and Ambrosius Benson achieved importance. Among other Flemish painters, Joachim Patinir, Jan Mabuse and the Master of the Plump-Cheeked Madonnas were to some degree influenced by him. |
David's name had been completely forgotten when in 1866 William Henry James Weale discovered documents about him in the archives of Bruges; these brought to light the main facts of the painter's life and led to the reconstruction of David's artistic personality, beginning with the recognition of David's only documented work, the Virgin Among Virgins at Rouen. |
Gallery |
References |
Notes |
Sources |
External links |
Media related to Gerard David at Wikimedia Commons |
"The Virgin Among The Virgins". Musée des Beaux-Arts, Rouen. 29 May 2013. Archived from the original on 22 February 2014. |
Gerard David | The Metropolitan Museum of Art |
Gerard David at Artcyclopedia |
Fifteenth- to eighteenth-century European paintings: France, Central Europe, the Netherlands, Spain, and Great Britain, a collection catalog fully available online as a PDF, which contains material on Gerard David (cat. no. 20-22) |
Gerard David : purity of vision in an age of transition, a collection catalog fully available online as a PDF |
Gerard David Foundation (Dutch) |
Gerard Houckgeest (c. 1600–August 1661) was a Dutch Golden Age painter of architectural scenes and church interiors. |
Biography |
Houckgeest is thought to have been born in The Hague, where, according to the RKD, he learned to paint from Bartholomeus van Bassen and worked in The Hague (1625–1635), Delft (1635–1649), Steenbergen (1651–52) and Bergen op Zoom (1652–1669). Some believe he spent some time in England as well. He specialized in painting imaginary church interiors and renaissance buildings, and died in Bergen op Zoom. |
Some of his works now reside at the Mauritshuis. |
References |
External links |
Works at WGA |
Works and literature on Gerard Houckgeest |
Vermeer and The Delft School, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Gerard Houckgeest |
Gerard Seghers (17 March 1591 – 18 March 1651) was a Flemish painter, art collector, and art dealer. After a period of study and residence in Italy, he returned to Flanders where he became one of the leading representatives of the Flemish Caravaggisti movement. In his later career he abandoned the Caravaggist style and genre motifs to become an important painter of large altarpieces for local churches. |
Life |
Gerard Seghers was born in Antwerp, the son of innkeeper Jan Seghers and his wife Ida de Neve. He was probably unrelated to the Jesuit still life painter Daniel Seghers. At the age of 12 he was enrolled as a pupil at the Guild of Saint Luke in Antwerp. It is not clear who his teacher was. Possibly he trained under Abraham Janssens, Hendrick van Balen or Caspar de Crayer (the father of the more famous Gaspar de Crayer). |
In 1608, only aged 17, he became a master in the Antwerp Guild of Saint Luke. In 1611 Seghers joined the Society of the Aged Bachelors (Sodaliteit der Bejaarde Jongmans), a fraternity for bachelors established by the Jesuit order. |
He travelled to Italy where around 1611 he was in Naples working for the Spanish Viceroy. He later moved to Rome where he worked for cardinal Antonio Zapata y Cisneros and the Spanish ambassador. In Rome he encountered the followers of Caravaggio, who had himself died a few years before Seghers' arrival in Rome. One in particular, Bartolomeo Manfredi, had as significant impact on his early work. Manfredi was one of the closest followers of Caravaggio and was at the height of his fame when Seghers arrived in Rome. Seghers fell strongly under the spell of Manfredi's work. He likely also met up with the Dutch and Flemish Caravaggisti residing in Rome such as Gerard van Honthorst, Dirck van Baburen, and Jan Janssens, and possibly also Hendrik ter Brugghen and Theodoor Rombouts. He is believed to have worked on commissions for, and sent his works, to the Antwerp art merchants Goetkint. At the same time Seghers used the stay in Italy to further his training as a painter and make copies after famous Italian paintings. |
Cardinal Antonio Zapata y Cisneros convinced Seghers to go to Madrid. He traveled to Madrid in 1616 with Bartolomeo Cavarozzi and Giovanni Battista Crescenzi. He reported later that in Spain he was in the service of king Philip III of Spain. However, the lack of mention of the artist in contemporary Spanish sources, casts doubt on this supposed sojourn in Spain. He was back in Antwerp in the fall of 1620 and the following year he assisted Rubens in the decoration of the Saint Carolus Borromeus church of Antwerp. In 1621 Seghers married Catharina Wouters (d.1656) who came from a respected family. The couple would have eleven children of whom one, Jan-Baptist Seghers (1624–1670), also became a painter. |
In 1624 he became a consultor of the Sodality of the Married Men of Age ('Sodaliteit der getrouwden'), a fraternity of married men established by the Jesuit order. It is assumed that in the period 1624 to 1627 he visited or resided in Utrecht where he would have met the leading Carravagist Gerard van Honthorst whom he likely knew from Rome. |
In Antwerp Seghers was successful as a painter and art dealer and was able to afford a house on the fashionable Meir. He was patronized by many monastic orders, including the Jesuits, who commissioned altarpieces from him. He was employed by the city authorities of both Antwerp and Ghent as one of the many artists working on the festive decorations for the Joyous Entry of Cardinal-Infante Ferdinand, the new governor of the Southern Netherlands, in 1635. Seghers' contribution to the Ghent decorations was based on a design by Rubens and was later engraved by Jacob Neefs with the title Belgica implores Charles V to let Ferdinand rule the country and published by Jan van Meurs in Antwerp in a publication on the Joyous Entry into Ghent. Seghers was appointed court painter to the Cardinal-Infante on 25 June 1637. It is possible that in the 1640s he spent some time in Amsterdam. Seghers' work found an eager market abroad, in particular in Spain, thanks to the strong political links between Spain and Flanders as well as Seghers' personal connections with important Spanish personalities such as cardinal Antonio Zapata y Cisneros whom Seghers had become acquainted with during his stay in Rome. |
Seghers served as the dean of the Antwerp Guild of St. Luke in 1645. Seghers was a member of the chamber of rhetoric called Violieren since his return to Antwerp in 1620. He further joined the Guild of Romanists. The Guild of Romanists was a society of notables and artists which was active in Antwerp from the 16th to 18th century. It was a condition of membership that the member had visited Rome. In the year 1637 the Guild of Romanists chose Seghers as its dean. By the time he died in Antwerp in 1651, Seghers was a wealthy man who owned a comfortable house and an extensive art collection. |
He had many pupils including his son Jan Baptist Seghers, Peter Franchoys, Frans Lucas Peters (I), Pieter Verbeeck (II), and Thomas Willeboirts Bosschaert. |
Work |
Seghers is known mainly for his monumental genre paintings and large religious and allegorical works. He completed many altarpieces for churches in the Southern Netherlands. Most of his works are executed in a characteristic landscape (horizontal) format. |
Stylistically and thematically, Seghers was initially strongly influenced by Caravaggio and in particular the work of Bartolomeo Manfredi, a follower of Caravaggio, who championed an idealised form of Caravaggism. Caravaggism, both in history and monumental genre paintings, continued to mark Seghers's work after his return to Antwerp. In contrast to Caravaggio, Seghers preferred a more idealised treatment of his subjects. The influence of the Caravaggisti is seen in his reliance on chiaroscuro, close-ups and an exaggerated expression for dramatic effect. He often used figures to obscure the light source (often candlelight) for dramatic effect. A work from this early period is his Judith with the Head of Holofernes in the Galleria Nazionale d'Arte Antica, Rome as well as The Denial of Saint Peter in the North Carolina Museum of Art. Favourite themes were scenes of music making and card playing. |
The theme of the Denial of Saint Peter seems to have been particularly dear to him as at least 10 versions by his hand are known. The theme lent itself easily to genre treatment. Seghers was mainly interested in depicting people of flesh and blood, preferably in a moment of crisis which allowed the artist to paint their various facial expressions. The masked candle he used heightened the expressiveness and added a spiritual dimension. Many copies of his versions of this theme were produced by himself and his studio. The Flemish painter Michael Angelo Immenraet repeated one of Seghers' variation on the theme in his programme of decorative paintings on biblical themes he painted for the Unionskirche, Idstein in Germany. |
After 1630, his palette lightened up considerably and the dark background was replaced by architectural motifs, clouds and landscape elements. The realistic facial expressions became more Classicist and he used more variations of colour. These changes reflected the influence of Peter Paul Rubens with whom Seghers closely collaborated during the 1630s. This influence went even so far that in his painting the Adoration of the Magi (1630, Church of Our Lady, Bruges) he adopted Rubens' composition for his treatment of the same subject. It is with this style that he achieved his greatest success in his career. His most important and most characteristic works were painted between 1630 and 1640. Afterwards, he changed to a more gracious and elegant, but also less monumental style. His colours became weaker and the draperies more linear. |
While Seghers typically worked on a large scale, he also produced various works on a small scale and on copper for the export market or private use. These smaller works were often reduced copies or variations of his own works. Many of Seghers' compositions were engraved by Antwerp engravers such as Jacob Neefs, Paulus Pontius and Schelte a Bolswert. These prints have assisted in attributing a number of paintings that were deemed lost to Gerard Seghers. |
References |
External links |
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