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Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.
During the seventeenth century, Dutch artists were unparalleled in their dedication to depicting ordinary people doing everyday things. Genre painting was the preeminent expression of this dedication, offering candid glimpses into the peasant cottages and village courtyards of the Dutch Golden Age, each painting lit with the period's vibrant color palette and rich with radiant natural light. This superb collection by the curators of an accompanying exhibition focuses on a selection of works of Dutch genre painting from the Royal Collection's holdings. Johannes Vermeer, Jan Steen, Gerrit Dou, Gabriel Metsu, and Pieter de Hooch are among the masters whose works are finely reproduced here. While the subject matter may be ordinary--the preparation of food, the bustle of a busy market, the enjoyment of taverns and town festivities--the meticulously documented details often allude to a work's deeper meaning or to moral messages that would have been familiar to the contemporary viewer. The book explores these hidden moral messages, as well as the artists' penchant for clever visual puns. Readers interested in the Dutch Golden Age or seventeenth-century art will welcome this volume. Individual essays on each painting, close-up photography showing important details, and a selection of comparative images add to the book's richness and provide valuable context.
Provides a comprehensive treatment of the achievements of the school of the Dutch Golden Age. The volume is the catalogue for an exhibition at the Fine Arts Museum of San Francisco; the Walters Art Gallery, Baltimore; and the National Gallery, London, (May-July 1998).
This stunning book presents the very best still lifes produced in the Netherlands at the height of the genre, from the early beginnings in the 16th century, with Pieter Aertsen and Joachim Beuckelaer, to the late highlights in the 18th century, with Rachel Ruysch and Jan van Huysum. Despite the popularity and abundance of flower paintings in modern collections, the book includes a wide range of subjects and styles, from the simple to the complex, the charmingly small to the opulent and extravagant, and from flowers to hunting still lifes or objects in the corner of a painter's studio, along with an occasional trompe l'oeil. The visual delights of still-life painting have a strong historical context. Collectors and connoisseurs purchased them because of their realism, visual appeal, and relevance to their own lives. Poets praised the wonders of still-life paintings and evoked the power of painting to transcend the seasons and the passing of time. Contemporary observers lauded the expensive and elaborate objects often on display. The book therefore considers the visual achievement of the Netherlandish still life painters in the context of contemporary reactions to pictures, art theory, and issues of patronage. Numerous artists were tempted to try their hand at still life, drawn by a new and enchanting genre that allowed an artist to create independent worlds of inanimate objects on the flat surface of a picture -- imaginary realms that had an exceptional following among connoisseurs of the time. These images continue to work their magic on present-day art lovers.
The appealing genre paintings of great seventeenth-century Dutch artists - Vermeer, Steen, de Hooch, Dou and others - have long enjoyed tremendous popularity. This comprehensive book explores the evolution of genre painting throughout the Dutch Golden Age, beginning in the early 1600s and continuing through the opening years of the next century. Wayne Franits, a well-known scholar of Dutch genre painting, offers a wealth of information about these works as well as about seventeenth-century Dutch culture, its predilections and its prejudices. The author approaches genre paintings from a variety of perspectives, examining their reception among contemporary audiences and setting the works in their political, cultural and economic contexts. The works emerge as distinctly conventional images, Franits shows, as genre artists continually replicated specific styles, motifs and a surprisingly restricted number of themes over the course of several generations. Luxuriously illustrated and with a full representation of the major artists and the cities where genre painting flourished, this book will delight students, scholars and general readers alike.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
Essays by American and Dutch scholars and museum curators explore the collecting and reception of seventeenth-century Dutch painting in America, from the colonial era through the Gilded Age to today.