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Media related to Gerard Seghers at Wikimedia Commons |
Gerard ter Borch (Dutch: [ɣəˈrɑr tɛr ˈbɔr(ə)x]; December 1617 – 8 December 1681), also known as Gerard Terburg (Dutch: [ɣəˈrɑr tɛrˈbʏr(ə)x]), was a Dutch Golden Age painter mainly of genre subjects. He influenced his fellow Dutch painters Gabriel Metsu, Gerrit Dou, Eglon van der Neer and Johannes Vermeer. According to ... |
Biography |
Gerard ter Borch was born in December 1617 in Zwolle in the province of Overijssel in the Dutch Republic. |
He received an excellent education from his father Gerard ter Borch the Elder, also an artist, and developed his talent very early. The inscription on a study of a head proves that Ter Borch was at Amsterdam in 1632, where he studied possibly under Willem Cornelisz Duyster or Pieter Codde. Duyster's influence can be tr... |
In 1635, he was in London, and subsequently he travelled in Germany, France, Spain and Italy. His sister Gesina also became a painter. It is certain that he was in Rome in 1641, when he painted the small portraits on copper of Jan Six, A Young Lady (Six Collection, Amsterdam) and the portrait of a Gentlemen (DMK Collec... |
At this time Ter Borch was invited to visit Madrid, where he received employment and the honour of knighthood from Philip IV, but, in consequence of an intrigue, it is said, he was obliged to return to the Netherlands. One of his great patrons was Amsterdam burgomaster and statesman Andries de Graeff. He seems to have ... |
Works |
Ter Borch is a significant painter of genre subjects. He is known for his rendering of texture in draperies, for example in The Letter and in The Gallant Conversation, engraved by Johann Georg Wille. |
Ter Borch's works are comparatively rare; about eighty have been catalogued. Six of these are at the Hermitage, six at the Berlin Museum, five at the Louvre, four at the Dresden Museum, three at the Getty Center, and two at the Wallace Collection. |
A pair of portraits were located at the Corcoran Gallery in Washington D.C., highlighted in 2010 by Blake Gopnik. |
The artist's painting The Suitor's Visit, c. 1658, oil on canvas, 80 x 75 cm (31½ × 29 9/16 in.) in the Andrew W. Mellon Collection, was used on the cover of Marilyn Stokstad's second edition of Art History. |
Selected works |
Gerard ter Borch's paintings |
Claim for Nazi-looted art |
In 2007, the heirs to the retail magnate Max Emden requested that the National Gallery of Victoria restitute the Gerard ter Borch painting Lady with a Fan which Emden had owned prior to the rise of the Nazis. |
Notes |
References |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Ter Borch, Gerard". Encyclopædia Britannica. Vol. 26 (11th ed.). Cambridge University Press. p. 637. |
Further reading |
Gerard Terburg (Ter Borch) et sa famille, by Emile Michel (Paris, 1887) on archive.org |
Der künstlerische Entwickelungsgang des C. Ter Borch, by Dr W Bode (Berlin, 1881) |
Maîtres d'autre fois, by Eugène Fromentin (4th ed., Paris, 1882) |
Gerard Ter Borch, by Eduard Plietzsch (1944) on archive.org |
Vermeer and The Delft School, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Gerard ter Borch (see index) |
The Milkmaid by Johannes Vermeer, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Gerard ter Borch (cat. no. 1) |
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 ter Borch (cat. no. 33-34) |
Dutch and Flemish paintings from the Hermitage, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Gerard ter Borch (cat. no. 3-4) |
External links |
Works and literature on Gerard ter Borch |
Gerrit Dou (7 April 1613 – 9 February 1675), also known as Gerard Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. He specialised in genre scenes and is noted for his trompe-l'œil "niche" paintings and candlelit night-scenes with strong chiaros... |
Life |
Dou was born in Leiden, where his father was a manufacturer of stained-glass. He studied drawing under Bartholomeus Dolendo, and then trained in the stained-glass workshop of Pieter Couwenhorn. In February 1628, at the age of fourteen, his father sent him to study painting in the studio of Rembrandt (then aged about 21... |
At a comparatively early point in his career, however, he developed a distinctive manner of his own which diverged considerably from Rembrandt's, cultivating a minute and elaborate style of treatment. He is said to have spent five days in painting a hand, and his work was so fine that he found it necessary to manufactu... |
Notwithstanding the minuteness of his touch, the general effect was harmonious and free from stiffness, and his colour was always fresh and transparent. He often represented subjects in lantern or candle light, the effects of which he reproduced with an unparalleled fidelity and skill. He often painted with the aid of ... |
Dou died in Leiden. His most noted pupils were Frans van Mieris the Elder and Gabriël Metsu. He also taught Bartholomeus Maton, Carel de Moor, Matthijs Naiveu, Abraham de Pape, Godfried Schalcken, Pieter Cornelisz van Slingelandt, Domenicus van Tol, Gijsbert Andriesz Verbrugge, and Pieter Hermansz Verelst. |
Gerrit Dou's self-portraits |
Interpretation |
A considerable amount was written about Dou in his own lifetime; for instance, Philips Angels praises Dou in his Lof der Schilderkunst for his imitation of nature and his visual illusions. Angels also stresses how Dou's paintings expressed the paragone debate current around that time. The debate was an ongoing competit... |
The paragone debate is not only addressed in writings from that time but is also reflected in the subject matter of several of Dou's paintings. An example of this is the Old Painter at work, in which an old painter is shown working on a canvas behind a table displaying objects that show his capabilities of imitation. T... |
Difficulties arise when an artist wants to associate a certain meaning with a specific object. One of the most troublesome and thus one of the most instructive objects in Dou's oeuvre is a relief by François Duquesnoy called Putti Teasing a Goat. This relief features in many of Dou's pictures with a window-sill motif, ... |
The Kitchen Maid with a Boy in a Window features a maidservant, fish and a little boy holding a hare, cramped together with a bunch of vegetables, a dead bird and copperware. Sluijter acknowledges that a contemporary viewer would have certainly approved of this scene as representing an approximation of life since the r... |
Additionally, to objects possibly having a deeper meaning via emblem books, complete scenes in Dou's oeuvre have been related to scenes depicted in emblem books or prints. The Girl Pouring Water is a variation of the theme Educatio prima bona sit from Boissards Vesuntini emblemata. This emblem depicts the moral that "c... |
One painting that is strongly associated with an emblem is the Night School. This particular painting is rather anecdotal in character. Baer disagrees with Hecht who refers to this painting as being merely a demonstration of Dou's abilities to work with artificial light. Baer identifies the candle lights with the light... |
Posthumous reputation |
Dou's work commanded high prices long after his death, until the 1860s. Soon after, he fell into near complete obscurity. For example, when the Metropolitan Museum of Art held in an exhibit to introduce Dutch art, it featured 37 by Rembrandt, 20 by Hals, but none by Dou. His obscurity continued until the 1970s when his... |
Works |
The Night School (Rijksmuseum, Amsterdam) |
1628: Astronomer (Hermitage Museum, Saint Petersburg) |
1631.1632 Old Woman Reading (formerly known as Rembrandt's Mother) (Rijksmuseum, Amsterdam) |
1630s: Portrait of a Girl (Manchester Art Gallery, UK) |
1631: Prince Rupert (J. Paul Getty Museum, Los Angeles) |
1635–1636: Still Life with a Boy Blowing Soap-Bubbles (National Museum of Western Art, Tokyo) |
1635–1640: Portrait of a Man (National Gallery, London) |
1637: An Interior with a Young Violinist (National Galleries of Scotland) |
1640s: Portrait of a Young Woman (National Gallery, London) |
1640–1645: Portrait of a Man (Hermitage Museum, Saint Petersburg) |
1642–1647: St. Jerome in the Desert (Memorial Art Gallery of the University of Rochester, New York) |
1645: The Schoolmaster (Fitzwilliam Museum, Cambridge) |
1646: Girl Chopping Onions (Royal Collection, London) |
1647: Still Life With Book and Purse (J. Paul Getty Museum, Los Angeles) |
1650: The Dutch Housewife (Louvre, Paris) |
1650s: The Young Mother (Gemäldegalerie, Berlin) |
1650s: Self Portrait (Rijksmuseum, Amsterdam) |
1650s: Self-portrait at the Window (Residenzgalerie, Salzburg) |
1658-1665: Young Woman with a Lighted Candle at a Window (Thyssen-Bornemisza Museum, Madrid) |
1652: The Quack Doctor (Museum Boymans-van Beuningen, Rotterdam) |
1653:The Physician (Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand) |
1653: The Violin Player (Liechtenstein Palace, Vienna) |
1655: Old Woman Cutting Bread (Museum of Fine Arts, Boston) |
1655: Astronomer by Candlelight (J. Paul Getty Museum, Los Angeles) |
1658: The Young Mother (Mauritshuis, The Hague) |
1660s: The Nursery (Lost with the sinking of the Vrouw Maria in 1771) |
1660–1665: Dentist by Candlelight (Kimbell Art Museum, Fort Worth) |
1660–1665: Old Woman Unreeling Threads (Hermitage Museum, Saint Petersburg) |
1660–1665: Soldier Bather (Hermitage Museum, Saint Petersburg) |
1660-1665: Woman Bather (Hermitage Museum, Saint Petersburg) |
1660-1665: Self-portrait (Louvre, Paris) |
1661: A Hermit (Wallace Collection, London) |
1663: The Dropsical Woman (Louvre, Paris) |
1663: Woman at a Window with a Copper Bowl of Apples and a Cock Pheasant (Fitzwilliam Museum, Cambridge) |
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