What Was Disctinctive About the Visual Arts in the 17th Century Dutch
The Night Watch (1642)
By Rembrandt.
Dutch Baroque Painting (c.1600-80)
Types, History, Characteristics of Dutch Realism School
Contents
• Dutch Aureate Age of Painting
• Dutch Baroque Portraits
• Rembrandt
• Dutch Bizarre Genre Painting
• Dutch Baroque Still Life Painting
• Dutch Baroque Mural Painting
• Greatest Dutch Bizarre Painters
EVOLUTION OF VISUAL Art
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of visual arts around the globe
run into: History of Art Timeline.
WORLD'S GREATEST ART
For a list of the Top 10 painters/
sculptors: Best Artists of All Time.
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For the best plastic fine art,
see: Greatest Sculptures E'er.
Federal republic of germany
For architecture, painting and
sculpture in Germany, during
the 16th and 17th centuries,
see: German Baroque Art.
Dutch Golden Age of Painting
During the era of Baroque art, the United Provinces, of which Holland was one, occupied the northern part of the Low Countries. Less developed than Flanders, perhaps they had once been the poor relations of the Flemings, but in the seventeenth century the nation was rich, proud, and expanding in influence. In fact it became 1 of the wealthiest nations in 17th century Europe. Information technology was also fond to painting: during the period 1600-80, more than 4 one thousand thousand paintings were produced in Holland - far more than the number produced by artists of the Flemish Baroque - and every sort of person indulged their own appreciation of fine art painting; artisans, merchants, burghers, sailors, shop-keepers - all knew, or prided themselves on knowing, something about it.
The sort of Baroque painting they admired and which they commissioned from their artists were even so different from Italian paintings, different even from those of Rubens. The Dutch, being Protestants, had banished Catholic-style Christian fine art, which was yet the main form of painting in Catholic countries. In one case they had gained their independence, they expressed their contentment in the enjoyment of the good things of life: fine, solid houses, convivial company, clothes of high quality. They were, in brusk, bourgeois, and they wanted pictures that reflected the delectation of bourgeois prosperity: portraits, interiors, genre-paintings (scenes of everyday life) and affluent looking even so lifes, painted on canvases of moderate size, to hang in ordinary houses.
This was the beginning of the Dutch Golden Age (c.1610-80), during which the school of Dutch Realism established itself equally one of the greatest ever movements of oil painting in the history of art. The all-time Baroque paintings past its leading members - such as Rembrandt and Vermeer - represent the summit of human artistic achievement and command multi-one thousand thousand dollar prices at sale. The school also set standards in the categories of naturalism, yet life and genre painting, which accept hardly been equalled, far less exceeded.
Dutch Baroque Portraiture
Frans Hals (1580-1666) was the first corking exponent of portrait art of the Dutch Baroque schoolhouse: the offset to shake off the dominant Italian classical approach to portraiture, in favour of a more realistic mode. A style in which his sharp middle for observation and lively power of expression could conjure upwardly a suitably unique composition. Hals painted what his customers wanted, and in prosperous, bourgeois Kingdom of the netherlands, the new middle course patron wanted higher up all to see himself in oils. Portraiture was after all the photography of the day, except better, because a painter can flatter the sitter ameliorate than any camera. It was this genre that Hals mastered. In his brimming vitality, for all his poverty and debt, he could always console himself by painting the portrait of a jolly fool - capturing the sitter not in the brilliance of a finished portrait, such as Rubens had taught people to expect, simply by a new picturesque improvisation, owing its charm to its like shooting fish in a barrel, loose, brushwork - a style appreciated above all by the 19th century Impressionists.
Rembrandt
Where Hals specialised in capturing the unique exterior of a subject field, Rembrandt (1606-69) looked for the inner reality. To put it another manner, while the Flemish Baroque painter Rubens personified the exuberant, theatrical, courtly side of Baroque fine art, Rembrandt represented its tormented, dramatic, introverted aspect. He was the heir to Caravaggio; and he fabricated this inheritance the nucleus of an incomparable achievement. It was Rembrandt who gave a new spirituality to the realistic fine art of Holland. He kept the methods of realism, but gave them a hitherto unknown, translucent luminosity. Above all, he went below the surface of his human being subjects and exposed some of their inner character and soul beneath.
I of his first smashing portrait masterpieces was actually a group portrait, a blazon which was especially characteristic of the country and the time. During the wars with Spain, many companies of volunteer soldiers had been formed - nosotros should perhaps call them militia companies. Afterward the Dutch victory their members had not gone their separate ways but continued to meet; and each of these companies wanted a grouping portrait to show their members gathered together. Unremarkably these canvases were of greater width than height, and showed the officers of the company grouped effectually a table or some other object that would serve every bit a pretext for a gathering of so many men. The lighting was depicted equally natural, without any dramatic dissimilarity, giving the same emphasis to each of the subjects.
Rembrandt's portrait - highly controversial at the time - is actually entitled The Company of Frans Banning Cocq and Willem van Ruytenburch merely is more normally known as The Night Scout (1642), because of the nighttime background from which its figures sally, partially or wholly illuminated by patches of light. But information technology is not a night scene: the darkness is a technique of caravaggism known as tenebrism, involving the contrast of night shadow with areas of potent light - a technique which had non been seen before in group portraiture. Contrary to convention, the militia officers exercise non all accept the same importance but are presented in strictly hierarchical order. The captain of the company and his lieutenant are seen in strong light in the heart with the others effectually them, merely their heads emerging from the shadow. Such an arroyo signified the get-go of an interest in the use of low-cal to discover a single figure, or sometimes only a confront. To see how conventional Dutch painters approached this type of grouping portraiture, run into Company of Captain Reinier Reael (Meagre Company) (1637) by Frans Hals.
Caravaggesque methods are also evident in Rembrandt's single portraits, in which the shadows can be even darker and invade nigh the entire canvas. The light falls from one side of the subject, illuminates the confront, dramatizes every contraction. Sometimes information technology also strikes a secondary subject - a book, a table, or other object. The rest is an area of darkness whose purpose is to throw into relief those parts that are minutely scrutinized. Practiced examples include: The Conspiracy of Claudius Civilis (1661) Nationalmuseum, Stockholm); Bathsheba Holding King David'due south Letter (1654, Louvre), and the poignant Suicide of Lucretia (1666, Minneapolis Plant of Arts), along with many of Rembrandt's self portraits.
Dutch Baroque Genre Painting
To cater for the rising demand among the bourgeoisie for easel art, notably genre painting, a number of artistic movements sprang up in towns similar Haarlem, Delft, Leiden, Utrecht, Dordrecht and Amsterdam. Thus was built-in the Dutch Realist style of genre painting which is notwithstanding seen every bit the apogee of the idiom. The Haarlem school was represented by Adriaen van Ostade (1610-85) (lowlife peasant scenes), and the Catholic January Steen (1626-79) (moralising tavern scenes); while Pieter de Hooch (1629-83) and the incomparable Jan Vermeer (1632-75), represented the Delft school. Utrecht had Hendrik Terbrugghen (1588-1629), and Gerrit van Honthorst (1590-1656), both strongly influenced past Caravaggio, while the Leiden school'due south most famous member was Rembrandt's first educatee Gerrit Dou (1613-75), known for his small, colourful, polished works. The Dordrecht school was represented past the "interiors" painter Samuel van Hoogstraten (1627-78) and Nicolaes Maes (1634-93), noted for his kitch genre-paintings and chiaroscuro effect; while the Amsterdam school consisted of Rembrandt, his pupils Govaert Flinck (1615-60), Ferdinand Bol (1616-eighty), and the talented Carel Fabritius (1622-54) who perished in a gunpowder explosion, besides as Gerard Terborch (1617-81), and Gabriel Metsu (1629-67), noted for his intimate small-scale genre works.
Special mention should be fabricated of January Vermeer of Delft, who in his just self-portrait, if information technology is actually anything of the kind, symbolically turns his back on the observer, as if to remain completely concealed within his world. But from his portraits of elegant women exercise nosotros realize how piddling is known of him - the poverty-stricken begetter of eleven children - who hardly ever left his native city, where he ate his centre out in longing for the aloof life; who languished in obscurity for centuries before being acclaimed as one of the all time greats of 17th century Dutch painting, on a par with the majestic Rembrandt.
Dutch Baroque Nonetheless Life Painting
It was in the Baroque period too that a blazon of film was adult that was to remain successful up to our own time - the 'still life painting', a movie offer an arrangement of flowers, of more or less inanimate objects of one kind or some other, generally painted in the studio, that is to say indoors. Of form paintings of this kind had certainly been fabricated earlier, but now they constituted a true genre, with practitioners in every country and in every school of painting. Once more the innovator who had founded this kind of painting was Caravaggio, who indeed began his creative career in this type of work. Non unnaturally, however, the genre reached its highest development in the Netherlands, where there was already a precursor, if not a tradition, of realistic, domestic, straightforward painting advisedly circumspect to the detail of everyday life, which had been produced there from as early on equally the fifteenth century.
NOTE: Dutch painters developed a particular genre of still life fine art - known as vanitas painting - which independent moralistic (Biblical) messages.
The tradition of still life art was adult by a number of exceptional painters who included: Willem Claesz Heda (1594-1680) and Pieter Claesz (1597-1660) both members of the Haarlem schoolhouse; Jan Davidsz de Heem (1606-84) of the Utrecht school; Willem Kalf (1619-93) the Amsterdam painter of pronkstilleven paintings; and Rachel Ruysch (1664-1750) the Amsterdam flower painter, arguably the greatest still life creative person of the Late Baroque.
Dutch Bizarre Landscape Painting
Coinciding with the classical Arcadian landscapes of Claude Lorrain and Nicolas Poussin, working in Rome, the Dutch school began to produce great examples of Baroque landscape painting, of which the finest works were created by Jacob van Ruisdael (c.1628-82) and his pupil Meindert Hobbema (1638-1703); other top artists included Philips de Koninck (1619-88) who specialized in large-size panoramic views; and Aelbert Cuyp (1620-91) noted for his soft calorie-free and impastoed highlights. Other Baroque landscape painters included: Hendrik Avercamp (1585-1634) who excelled at winter scenes; Cornelis van Poelenberg (1586-1667) who painted Italianate scenes; the naturalist pioneer Esaias van de Velde (1591-1630) and his pupil Jan van Goyen (1596-1656) who produced repetitive views of the Nijmegen River, Dordrecht, sand dunes, and ships; and Salomon van Ruysdael (1600-70) famous for his typical Dutch views and riverscapes.
Dutch Baroque realist painters who specialised in other genres included the Haarlem-based architectural painter Pieter Saenredam (1597-1665), the peerless animal painter Paulus Potter (1625-54), and marine creative person Willem van de Velde (1633-1707) from Leiden.
Works reflecting the Dutch Baroque style of painting tin be seen in most of the all-time art museums in the earth, notably the Rijksmuseum Amsterdam and the Mauritshuis Purple Moving-picture show Gallery in The Hague.
Greatest Dutch Bizarre Painters
Here is a selected list of the best Dutch Realist artists, together with some of the greatest genre paintings of the century.
Frans Hals (1582-1666)
1 of the greatest Dutch portraitists.
The Laughing Condescending (1625) oil on canvas, Wallace Drove, London.
Hendrik Terbrugghen (1588-1629)
Dutch genre-painter, Utrecht schoolhouse.
Flute Players (1621) Staatliche Kunstsammlungen, Kassel.
Gerrit van Honthorst (1592-1656)
Most famous fellow member of the Utrecht School.
Adoration of the Shepherds (1622) Wallraf-Richartz Museum, Cologne.
Pieter Jansz Saenredam (1597-1665)
Architectural artist famous for his austere whitewashed church building interiors.
Interior of the Buurkerk, Utrecht (1644) NG London; KAM Fort Worth, Texas.
Salomon van Ruysdael (1602-seventy)
Painter of landscapes and riverscapes.
River Landscape near Arnhem (1651) Hermitage Museum, St Petersburg.
Adriaen Brouwer (1605-38)
Genre-painter famous for his tavern genre-pictures.
The Biting Draught (1635) Stadel Fine art Museum, Frankfurt.
Rembrandt van Rijn (1606-1669)
World'southward greatest ever portrait artist; outstanding history painter.
The Anatomy Lesson of Doctor Nicolaes Tulp (1632) Mauritshuis.
The Nightwatch (1642) oil on canvas, Rijksmuseum, Amsterdam.
Aristotle Contemplating the Bust of Homer (1653) The Met, New York
Bathsheba Holding King David's Letter (1654) oil on canvass, Louvre, Paris.
Portrait of January Six (1654) oil on sheet, 6 Collection, Amsterdam.
The Conspiracy of Julius Civilis (1661-2) National Museum, Stockholm.
Syndics of the Cloth-Makers Lodge (De Staalmeesters) (1662) Rijksmuseum.
The Suicide of Lucretia (1666) oil on sail, Minneapolis Establish of Arts.
The Jewish Bride (c.1665-8) Rijksmuseum, Amsterdam.
Render of the Dissipated Son (1666-69) Hermitage Museum, St Petersburg.
Jan Davidsz de Heem (1606-83)
Nonetheless life artist, Utrecht/Antwerp Schoolhouse.
A Table of Desserts (1640) oil on sail, Louvre, Paris.
However Life of Fruit (1670) oil on sail, Ashmolean Museum, Oxford.
Adriaen van Ostade (1610-85)
Painter of peasant scenes, Haarlem school.
Rustic Concert (1638) oil on sheet, Prado, Madrid.
Interior with Peasants (1663) oil on sheet, Wallace Collection, London.
David Teniers the Younger (1610-90)
Noted for pocket-size guardroom scenes and tavern scenes.
Gambling Scene at an Inn (1649) Wallace Collection, London.
Harmen van Steenwyck (1612-56)
Leading exponent of vanitas painting (however lifes with Biblical messages).
An Allegory of the Vanities of Human Life (1640) National Gallery, London.
Emanuel de Witte (1615-1692)
Alkmaar architectural painter noted for church building interiors with man interest.
Interior of the Oude Kerk Amsterdam (1669) Individual Collection.
Gerard Terborch (1617-81)
Haarlem schoolhouse genre painter.
Parental Admonition (1654-55) Staatliche Museen zu Berlin.
Woman Writing a Letter (1655) Mauritshuis, The Hague.
Willem Kalf (1619-93)
Still life artist, noted for pronkstilleven and vanitas paintings.
All the same Life with Lobster, Drinking Horn & Glasses (1653) National Gallery, London.
Even so Life with Chinese Porcelain Jar (1662) Gemaldegalerie, SMPK, Berlin.
Aelbert Cuyp (1620-91)
Landscape artist, Dordrecht school.
Dordrecht from the North (1650) oil on canvass, Rothschild Collection.
River Landscape with Horseman & Peasants (1658) National Gallery, London.
Carel Fabritius (1622-54)
Rembrandt's all-time pupil. Active in Amsterdam and Delft.
View of Delft (1652) oil on canvas, National Gallery, London.
Paulus Potter (1625-54)
Leading animalier of the Dutch School.
The Bull (1647) oil on canvas, Mauritshuis, The Hague.
Jan Steen (1626-79)
Genre-painter, Leiden school.
The Christening Feast (1664) oil on canvas, Wallace Collection, London.
Samuel Van Hoogstraten (1627-78)
Genre painter, noted for interiors with deep linear perspective.
The Slippers (1654-60) oil on canvas, Louvre, Paris.
View downward the Corridor (1662) oil on console, Dyrham Park, UK.
Landscape painter, Haarlem school.
The Mill at Wijk Well-nigh Duurstede (1670) oil on canvas, Rijksmuseum.
Jewish Cemetery at Ouderkerk (1670) oil on canvas, Alte Meister, Dresden.
Gabriel Metsu (1629-67)
Intimate small-scale genre scenes.
The Dissipated Son (1640s) oil on canvas, Hermitage Museum, St Petersburg.
The Music Lesson (1658) oil on canvas, National Gallery, London.
Pieter de Hooch (1629-83)
Genre painter, Delft school.
Courtyard of a House in Delft (1658) oil on canvas, National Gallery, London.
The Linen Closet (1663) Rijksmuseum, Amsterdam.
Interior of Burgomaster's Council Chamber (1661-seventy) Thyssen-Bornemisza.
Jan Vermeer (1632-1675)
Leader of Delft schoolhouse of genre-painting.
Soldier and a Laughing Girl (c.1658) oil on canvas, Frick Collection, New York.
The Milkmaid (c.1658-1660) oil on sail, Rijksmuseum, Amsterdam.
The Little Street (Street in Delft) (c.1657-1658) Rijksmuseum, Amsterdam.
Woman with a Water Jug (c.1664-1665) Metropolitan Museum of Art, NY.
Woman Holding a Balance (1662-3) National Gallery of Fine art, Washington DC.
Adult female with a Pearl Necklace (c.1662) SMPK, Gemaldegalerie, Berlin.
The Music Lesson (Lady/Gentleman at the Virginals) (c.1665) Royal Collection.
The Concert (c.1665-1666) Isabella Stewart Gardner Museum, Boston, MA.
Daughter with a Pearl Earring (Caput of a Girl with a Turban) (c.1665) Mauritshuis.
The Art of Painting: An Apologue (c.1666-1673) Kunsthistorisches Museum.
The Lacemaker (c.1669-1670) oil on canvas, Louvre, Paris.
Girl with a Red Hat (c.1666-1667) National Gallery of Art, Washington DC.
Nicolas Maes (1634-93)
Dordrecht School artist, noted for genre paintings of kitchen life, portraits.
The Eavesdropper (1657) oil on canvas, Dordrecht Museum, Dordrecht.
Meindert Hobbema (1638-1709)
Last major Dutch landscape painter of the 17th century.
A Watermill (1665-8) oil on sheet, Rijksmuseum, Amsterdam.
For details of European collections containing works illustrating Dutch Realist genre painting or still lifes, run into: Fine art Museums in Europe.
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