Key Images Peter Paul Rubens, The Raising of the Cross, p. 699, 20.1 Peter Paul Rubens, Drawing After Michelangelo’s Ignudi from the Sistine Chapel Ceiling, p. 700, 20.2 Peter Paul Rubens, Sketch for the Raising of the Cross, p. 700, 20.3 Peter Paul Rubens, Marchesa Brigida Spinola Doria, p. 702, 20.4 Peter Paul Rubens, Marie de’ Medici, Queen of France, Landing in Marseilles (3 November 1600), p. 703, 20.5 Peter Paul Rubens, The Garden of Love, p. 704, 20.6 Anthony van Dyck, Rinaldo and Armida, p. 704, 20.7 Anthony van Dyck, Portrait of Charles I Hunting, p. 705, 20.8 Jacob Jordaens, Homage to Pomona (Allegory of Fruitfulness), p. 706, 20.9 Jan Bruegel the Elder and Peter Paul Rubens, Allegory of Sight, p. 707, 20.10 Clara Peeters, Still Life with Fruit and Flowers, p. 708, 20.11 Frans Snyders, Market Stall, p. 709, 20.12 Jan de Heem, Still Life with Parrots, p. 710, 20.13
• Rubens, whose work was informed by the style of Michelangelo, Caravaggio, and Titian, dominated the Flemish art market in the seventeenth-century with his religious works and portraits in high demand.
• Rubens characterized the ″virtuoso artist″ of the Baroque period, having traveled extensively, speaking several languages, and being well read. After being trained in Antwerp, Rubens traveled to Italy where he studied the Italian artistic traditions for eight years before returning to Flanders.
• The Baroque style was transmitted to Holland through Rubens and artistic contact with Caravaggism.
• Rubens′ The Garden of Love and the Marie de′ Medici cycle influenced later eighteenth-century Rococo painting.
• Anthony van Dyck, Rubens′ student, was primarily a portraitist, becoming the court painter for Charles I.
• Still life painting was very popular in Flanders, including flower and food subjects.
The Dutch Republic
Key Images Hendrick Goltzius, Farnese Hercules, p. 711, 20.14 Hendrick Terbrugghen, Singing Lute Player, p. 712, 20.15 Frans Hals, Banquet of the Officers of St. George Civic Guard, p. 713, 20.16 Frans Hals, Married Couple in a Garden, Portrait of Isaac Massa and Beatrix van der Laen, p. 713, 20.17 Frans Hals, The Jolly Toper, p. 714, 20.18 Judith Leyster, Self-Portrait, p. 714, 20.19 Judith Leyster, Young Flute Player, p. 715, 20.20 Rembrandt van Rijn, Portrait of Saskia van Uylenburgh, p. 716, 20.21 Rembrandt van Rijn, The Blinding of Samson, p. 717, 20.22 Rembrandt van Rijn, The Night Watch (The Company of Captain Frans Banning Cocq), p. 718. 20.23 Rembrandt van Rijn, The Hundred Guilder Print, p. 719, 20.24 Rembrandt van Rijn, Self Portrait, p. 721, 20.25 Rembrandt van Rijn, The Return of the Prodigal Son, p. 721, 20.26
• There were many artistic communities in the Dutch Republic, including Haarlem, Utrecht, Amsterdam, and Delft. Most artists were associated with one area, with Frans Hals in Haarlem, Hendrick Terbrugghen in Utrecht, Rembrandt van Rijn in Amsterdam, and Jan Vermeer in Delft.
• In Haarlem the focus was on portraits and genre painting with innovations in brushstroke and portraiture. This can be seen in Frans Hals′ Banquet of the Officers of the St. George Civic Guard and Married Couple in a Garden. In the first, Hals uses a three-dimensional paint modeling using a ″wet-in-wet″ technique, and in the Married Couple the couple is off center, adding to the realism of the work. This sense of immediacy is heightened by Issac Massa′s open mouth as he is caught in mid-speech.
• Judith Leyster was the most well-known follower of Hals, excelling in portrait and genre painting. Her depiction of herself painting in her Self-Portrait underscores her position as an artist.
• By the mid-seventeenth century Rembrandt was the most sought-after portraitist in Amsterdam. Rembrandts technique uses impasto—a heavy layering of the paint to achieve greater texture.
The Market: Landscape, Still-Life, and Genre Painting
Key Images Jan van Goyen, Pelkus Gate near Utrecht, p. 722, 20.27 Jacob van Ruisdael, Bleaching Grounds Near Haarlem, p. 722, 20.28 Jacob van Ruisdael, The Jewish Cemetery, p. 723, 20.29 Pieter Saenredam, Interior of the Choir of St. Bavo′s Church at Haarlem, p. 724, 20.30 Willem Claesz Heda, Still Life, p. 725, 20.31 Rachel Ruysch, Flower Still Life, p. 726, 20.32 Jan Steen, The Feast of St. Nicholas, p. 727, 20.33 Jan Vermeer, Woman Holding a Balance, p. 728, 20.34 Jan Vermeer, The Love Letter, p. 729, 20.35 Gerard ter Borch, Lady at her Toilet, p. 730, 20.36
• Dutch art was characterized by landscape painting, the still-life, and genre painting. Unlike works in Italy which were commissioned works, many Northern European artworks were painted with the intention of selling them on the open market.
• Many of these works were small in scale, suitable to display in a home.
• The still life rose to new prominence during this period, with the popularity of the vanitas still life in which the composition of the painting—an overturned cup, an unfinished meal—spoke to the shortness of life.
• Jan Steen′s genre paintings were intended to tell a moral story.
• Jan Vermeer′s work is characterized by inside scenes and light which often enters through a window. To create these effects, Vermeer may have used a camera obscura.
Key Terms/Places/Names pronk still life Saskia van Uylenburgh militia company emblem books vanitas theme genre painting camera obscura
Discussion Questions
1. How was the theatricality of the Baroque period expressed in the work of Peter Paul Rubens?
2. What accounts for the different artistic traditions in Haarlem, Utrecht, Amsterdam, and Delft?
3. Compare and contrast Frans Hals′ Married Couple in a Garden, Portrait of Isaac Massa and Beatrix van der Laen (p. 713, 20.17) and Jan van Eyck′s The ″Arnolfini Portrait″ (p. 484, 14.16).
4. Discuss the Italian influence in Rubens′ Marie de′ Medici, Queen of France, Landing in Marseilles (3 November 1600).
5. What symbolism did Clara Peeters incorporate into Still Life with Fruit and Flowers?
Resources
Books
Alpers, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1984.
Bonafoux, Pascal. Rembrandt, Master of the Portrait, tr. Alexandra Campbell. New York: Harry Abrams, 1992.
Gerson, Hobst, and E. H. ter Kuile. Rembrandt Paintings, tr. Heinz Norden, ed. Gary Schwartz. New York: Reynal, 1968.
Grimm, Claus. Frans Hals, The Complete Work, tr. Jurgen Riechle. New York: Harry Abrams, 1990.
Rosenberg, Jakob, Seymour Slive, and E. H. Ter Kuile. Dutch Art and Architecture, 1600–1800. New Haven: Yale University Press, 1993.
Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Random House, 1987.
Schwartz, Gary. Rembrandt: His Life, His Paintings. New York: Penguin, 1991.
Steadman, Philip. Vermeer′s Camera: Uncovering the Truth Behind the Masterpieces. New York: Oxford University Press, 2002.
Turner, Jane, ed. From Rembrandt to Vermeer: 17th-Century Dutch Artists. New York: St. Martin’s Press, 2000.
DVDs
The Dutch Masters—Rembrandt. (2006). Kultur Video. 50 min. The Dutch Masters—Rubens. (2006). Kultur Video. 50 min. The Dutch Masters—Vermeer. (2006). Kultur Video. 50 min.
CHAPTER TWENTY
ReplyDeleteTHE BAROQUE IN THE NETHERLANDS
Flanders
Key Images
Peter Paul Rubens, The Raising of the Cross, p. 699, 20.1
Peter Paul Rubens, Drawing After Michelangelo’s Ignudi from the Sistine Chapel Ceiling, p. 700, 20.2
Peter Paul Rubens, Sketch for the Raising of the Cross, p. 700, 20.3
Peter Paul Rubens, Marchesa Brigida Spinola Doria, p. 702, 20.4
Peter Paul Rubens, Marie de’ Medici, Queen of France, Landing in Marseilles
(3 November 1600), p. 703, 20.5
Peter Paul Rubens, The Garden of Love, p. 704, 20.6
Anthony van Dyck, Rinaldo and Armida, p. 704, 20.7
Anthony van Dyck, Portrait of Charles I Hunting, p. 705, 20.8
Jacob Jordaens, Homage to Pomona (Allegory of Fruitfulness), p. 706, 20.9
Jan Bruegel the Elder and Peter Paul Rubens, Allegory of Sight, p. 707, 20.10
Clara Peeters, Still Life with Fruit and Flowers, p. 708, 20.11
Frans Snyders, Market Stall, p. 709, 20.12
Jan de Heem, Still Life with Parrots, p. 710, 20.13
• Rubens, whose work was informed by the style of Michelangelo, Caravaggio, and Titian, dominated the Flemish art market in the seventeenth-century with his religious works and portraits in high demand.
• Rubens characterized the ″virtuoso artist″ of the Baroque period, having traveled extensively, speaking several languages, and being well read. After being trained in Antwerp, Rubens traveled to Italy where he studied the Italian artistic traditions for eight years before returning to Flanders.
• The Baroque style was transmitted to Holland through Rubens and artistic contact with Caravaggism.
• Rubens′ The Garden of Love and the Marie de′ Medici cycle influenced later eighteenth-century Rococo painting.
• Anthony van Dyck, Rubens′ student, was primarily a portraitist, becoming the court painter for Charles I.
• Still life painting was very popular in Flanders, including flower and food subjects.
The Dutch Republic
Key Images
Hendrick Goltzius, Farnese Hercules, p. 711, 20.14
Hendrick Terbrugghen, Singing Lute Player, p. 712, 20.15
Frans Hals, Banquet of the Officers of St. George Civic Guard, p. 713, 20.16
Frans Hals, Married Couple in a Garden, Portrait of Isaac Massa and Beatrix van der Laen, p. 713, 20.17
Frans Hals, The Jolly Toper, p. 714, 20.18
Judith Leyster, Self-Portrait, p. 714, 20.19
Judith Leyster, Young Flute Player, p. 715, 20.20
Rembrandt van Rijn, Portrait of Saskia van Uylenburgh, p. 716, 20.21
Rembrandt van Rijn, The Blinding of Samson, p. 717, 20.22
Rembrandt van Rijn, The Night Watch (The Company of Captain Frans Banning Cocq), p. 718. 20.23
Rembrandt van Rijn, The Hundred Guilder Print, p. 719, 20.24
Rembrandt van Rijn, Self Portrait, p. 721, 20.25
Rembrandt van Rijn, The Return of the Prodigal Son, p. 721, 20.26
• There were many artistic communities in the Dutch Republic, including Haarlem, Utrecht, Amsterdam, and Delft. Most artists were associated with one area, with Frans Hals in Haarlem, Hendrick Terbrugghen in Utrecht, Rembrandt van Rijn in Amsterdam, and Jan Vermeer in Delft.
• In Haarlem the focus was on portraits and genre painting with innovations in brushstroke and portraiture. This can be seen in Frans Hals′ Banquet of the Officers of the St. George Civic Guard and Married Couple in a Garden. In the first, Hals uses a three-dimensional paint modeling using a ″wet-in-wet″ technique, and in the Married Couple the couple is off center, adding to the realism of the work. This sense of immediacy is heightened by Issac Massa′s open mouth as he is caught in mid-speech.
• Judith Leyster was the most well-known follower of Hals, excelling in portrait and genre painting. Her depiction of herself painting in her Self-Portrait underscores her position as an artist.
• By the mid-seventeenth century Rembrandt was the most sought-after portraitist in Amsterdam. Rembrandts technique uses impasto—a heavy layering of the paint to achieve greater texture.
The Market: Landscape, Still-Life, and Genre Painting
Key Images
Jan van Goyen, Pelkus Gate near Utrecht, p. 722, 20.27
Jacob van Ruisdael, Bleaching Grounds Near Haarlem, p. 722, 20.28
Jacob van Ruisdael, The Jewish Cemetery, p. 723, 20.29
Pieter Saenredam, Interior of the Choir of St. Bavo′s Church at Haarlem, p. 724, 20.30
Willem Claesz Heda, Still Life, p. 725, 20.31
Rachel Ruysch, Flower Still Life, p. 726, 20.32
Jan Steen, The Feast of St. Nicholas, p. 727, 20.33
Jan Vermeer, Woman Holding a Balance, p. 728, 20.34
Jan Vermeer, The Love Letter, p. 729, 20.35
Gerard ter Borch, Lady at her Toilet, p. 730, 20.36
• Dutch art was characterized by landscape painting, the still-life, and genre painting. Unlike works in Italy which were commissioned works, many Northern European artworks were painted with the intention of selling them on the open market.
• Many of these works were small in scale, suitable to display in a home.
• The still life rose to new prominence during this period, with the popularity of the vanitas still life in which the composition of the painting—an overturned cup, an unfinished meal—spoke to the shortness of life.
• Jan Steen′s genre paintings were intended to tell a moral story.
• Jan Vermeer′s work is characterized by inside scenes and light which often enters through a window. To create these effects, Vermeer may have used a camera obscura.
Key Terms/Places/Names
pronk still life
Saskia van Uylenburgh
militia company
emblem books
vanitas theme
genre painting
camera obscura
Discussion Questions
1. How was the theatricality of the Baroque period expressed in the work of Peter Paul Rubens?
2. What accounts for the different artistic traditions in Haarlem, Utrecht, Amsterdam, and Delft?
3. Compare and contrast Frans Hals′ Married Couple in a Garden, Portrait of Isaac Massa and Beatrix van der Laen (p. 713, 20.17) and Jan van Eyck′s The ″Arnolfini Portrait″ (p. 484, 14.16).
4. Discuss the Italian influence in Rubens′ Marie de′ Medici, Queen of France, Landing in Marseilles (3 November 1600).
5. What symbolism did Clara Peeters incorporate into Still Life with Fruit and Flowers?
Resources
Books
Alpers, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago:
University of Chicago Press, 1984.
Bonafoux, Pascal. Rembrandt, Master of the Portrait, tr. Alexandra Campbell. New
York: Harry Abrams, 1992.
Gerson, Hobst, and E. H. ter Kuile. Rembrandt Paintings, tr. Heinz Norden, ed.
Gary Schwartz. New York: Reynal, 1968.
Grimm, Claus. Frans Hals, The Complete Work, tr. Jurgen Riechle. New York:
Harry Abrams, 1990.
Rosenberg, Jakob, Seymour Slive, and E. H. Ter Kuile. Dutch Art and Architecture,
1600–1800. New Haven: Yale University Press, 1993.
Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Random House, 1987.
Schwartz, Gary. Rembrandt: His Life, His Paintings. New York: Penguin, 1991.
Steadman, Philip. Vermeer′s Camera: Uncovering the Truth Behind the Masterpieces.
New York: Oxford University Press, 2002.
Turner, Jane, ed. From Rembrandt to Vermeer: 17th-Century Dutch Artists. New York:
St. Martin’s Press, 2000.
DVDs
The Dutch Masters—Rembrandt. (2006). Kultur Video. 50 min.
The Dutch Masters—Rubens. (2006). Kultur Video. 50 min.
The Dutch Masters—Vermeer. (2006). Kultur Video. 50 min.
www
Essential Vermeer http://essentialvermeer.20m.com/
Rijksmuseum, Amsterdam http://rijksmuseum.nl/index.jsp
The Frick Collection (New York): Jan Vermeer http://collections.frick.org/THA170*1
The View of Delft (Jan Vermeer). A Guided Tour through the Painting.
http://www.xs4all.nl/~kalden/verm/view/Vermeer_main.html