How Does Hals Officers of the Haarlem Militia Company of St Adrian Exemplify Dutch Art?

Ter Brugghen, van Honthorst, Hals, Leyster

Hendrick ter Brugghen, Gerrit van Honthorst, Frans Hals, and Judith Leyster were important genre painters of the Dutch Commonwealth.

Learning Objectives

Explain the importance of ter Brugghen, van Honthorst, Hals, and Leyster to genre painting of the Dutch Commonwealth

Key Takeaways

Central Points

• Ter Brugghen and Honthorst were both artists from the Dutch city of Utrecht who worked in the Caravaggisti tradition, emulating Caravaggio'southward dramatic use of light and shadow. Both artists were directly inspired past their travels to Italy.
• Tavern scenes and other depictions of lively amusement were common subjects for genre painters of this catamenia.
• Frans Hals, another well-known Dutch painter, is remembered primarily for his portraiture and his pioneering utilize of loose brushwork.
• Judith Leyster is ane of the few recognized female artists of the Dutch Golden Historic period and is known for depicting female subjects in domestic interior scenes.
• Leyster'southward work is extremely similar to Hals, leading some historians to speculate that she may have been his apprentice.

Key Terms

• chiaroscuro: An creative technique developed during the Renaissance, referring to the apply of exaggerated light contrasts in order to create the illusion of book.
• Caravaggisti: Stylistic followers of the 16th century Italian Baroque painter Michelangelo Merisi da Caravaggio.
• Mannerism: A mode of art developed at the end of the High Renaissance, characterized past the deliberate baloney and exaggeration of perspective, peculiarly the elongation of figures.

The Dutch Golden Age

The Dutch Golden Age was a period in the history of The netherlands generally spanning the 17th century, during and later on the later part of the Lxxx Years' War (1568–1648) for Dutch independence. Although Dutch painting of the Golden Age comes in the full general European catamenia of Baroque painting and often shows many of its characteristics, most lacks the idealization and dearest of splendor typical of much Baroque piece of work, including that of neighboring Flemish region . Most piece of work in Holland during this era, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting .

A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the majority of their work within one of these. The full development of this specialization is seen from the belatedly 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting. The Utrecht Caravaggisti Hendrick ter Brugghen and Gerrit van Honthorst, also as Frans Hals and Judith Leyster, were genre painters of the Dutch Democracy. Their work generally depicted taverns and other scenes of entertainment that catered to the tastes and interests of a growing segment of the Dutch middle class.

ter Brugghen

Hendrick Jansz ter Brugghen (1588—1629) was a Dutch painter and a leading member of the Dutch followers of Caravaggio, or the Dutch Caravaggisti. Ter Brugghen began painting at the age of 13, studying with Abraham Bloemaert, a history painter trained in Mannerism . Around 1604, ter Brugghen traveled to Italy to expand his skills like many of his Dutch counterparts. While in Rome , he could have been in directly contact with Caravaggio. He certainly studied his piece of work, as well as that of his followers, known equally the Italian Caravaggisti. Upon returning to the Dutch city of Utrecht, he worked with Gerard van Honthorst, some other member of the Dutch Caravaggisti.

Flute Player by ter Brugghen, 1621: ter Brugghen, with Gerard van Honthorst, imported Caravaggio's techniques from Italy in the early 17th century.

Ter Brugghen'southward favorite subjects were half-length figures of drinkers or musicians, only he besides produced larger-calibration religious images and group portraits. He carried with him Caravaggio'due south influence, and his paintings have a strong dramatic use of light and shadow, as well every bit emotionally charged subjects. Though he died fairly immature at age 41, his piece of work was well received and highly influential in his lifetime.

The Concert past ter Brugghen (1627), 99.1 x 116.8 cm, National Gallery, London: Some of ter Brugghen's favorite subjects were one-half-length figures of drinkers or musicians, with a stiff dramatic use of light and shadow in the style of Caravaggio.

Van Honthorst

Gerard van Honthorst (1590—1656) was born in Utrecht and also studied under Abraham Bloemaert. In 1616, Honthorst also traveled to Italy and was deeply influenced past the recent art he encountered there. Honthorst returned to Utrecht in 1620 and went on to build a considerable reputation, both in the Dutch Republic and abroad.

Honthorst briefly became a courtroom painter to Charles I in England in 1628. His popularity in holland was such that he opened a second studio in The Hague, where he painted portraits of members of the courtroom and taught drawing. Honthorst cultivated the style of Caravaggio and had great skill at chiaroscuro , oft painting scenes illuminated past a unmarried candle. Apart from portraiture, he is known for painting tavern scenes with musicians, gamblers, and people eating.

The Matchmaker by Gerard van Honthorst, 1625: This painting demonstrates Honthorst's use of chiaroscuro, a style made popular by Caravaggio.

Hals

Frans Hals the Elderberry (c. 1582—1666) was most notable for his loose painterly brushwork, a lively style he helped introduce into Dutch art. Hals was as well instrumental in the evolution of 17th century group portraiture. He is perhaps all-time known for his portraits, which were primarily of wealthy citizens and prominent merchants like Pieter van den Broecke and Isaac Massa. He as well painted big grouping portraits for local borough guards and the regents of local hospitals. His pictures illustrate the various strata of society: banquets or meetings of officers, guildsmen, local councilmen from mayors to clerks, itinerant players and singers, gentlefolk, fishwives, and tavern heroes. In his group portraits, such equally the The Officers of the St Adrian Militia Company, Hals captures each character in a different style. Hals was fond of daylight and silver sheen, in contrast to Rembrandt'southward use of aureate glow effects.

The Officers of the St Adrian Militia Company by Frans Hals, 1633: This is the 2nd painting for the Cluveniers, St. Adrian, or St. Hadrian civic guard of Haarlem, by Frans Hals; today it is considered one of the primary attractions of the Frans Hals Museum.

Leyster

Judith Jans Leyster (1609—1660) was one of three meaning women artists in Dutch Golden Historic period painting. The other two, Rachel Ruysch and Maria van Oosterwijk, were specialized painters of flower still lifes, while Leyster painted genre works, a few portraits, and a single still life . Leyster largely gave up painting after her marriage, which produced five children. Leyster was particularly innovative in her domestic genre scenes . In them, she creates quiet scenes of women at domicile, which were not a pop theme in Holland until the 1650s.

A Game of Cards past Judith Leyster: Leyster's field of study matter was like to other genre painters of the menses, with the exception that she tended to focus on female subjects.

Although well-known during her lifetime and esteemed by her contemporaries, Leyster and her work were largely forgotten after her death. Leyster was rediscovered in 1893 when the Louvre purchased what it idea was a Frans Hals painting, but to find information technology had, in fact, been painted by Judith Leyster. Some historians have asserted that Hals may take been Leyster's instructor due to the close similarity between their piece of work; for example, Leyster'south The Merry Drinker from 1629 has a very stiff resemblance to The Jolly Drinker of 1627—28 past Hals.

Rembrandt

Rembrandt is remembered as one of the greatest artists in European history and the most important in the Dutch Golden Historic period.

Learning Objectives

Describe the characteristics of Rembrandt's painting

Key Takeaways

Key Points

• Rembrandt Harmenszoon van Rijn (1606—1669) is primarily known for portraits of his contemporaries, self-portraits, landscapes, and illustrations of scenes from the Bible.
• Rembrandt'due south self-portraits are exceptionally sincere, revealing, and personal, illustrating his development over fourth dimension.
• Stylistically, Rembrandt'south piece of work evolved from smooth to rough over the grade of his lifetime.
• The thick, coarse strokes in Rembrandt'south work were unconventional at the time and poorly received by many of his contemporaries, though this technique is now viewed as essential to the emotional resonance of his work.
• Though he is remembered equally the primary of Dutch painting, Rembrandt'south success was uneven during his lifetime.

Key Terms

• variegated: Streaked, spotted, or otherwise marked with a variety of colour; very colorful.
• Caravaggisti: Stylistic followers of the 16th century Italian Baroque painter Michelangelo Merisi da Caravaggio.
• chiaroscuro: An artistic technique popularized during the Renaissance, referring to the use of exaggerated light contrasts in lodge to create the illusion of volume.

Overview: Rembrandt

Rembrandt Harmenszoon van Rijn (1606—1669) was a Dutch painter and etcher during the Dutch Golden Age, a menses of great wealth and cultural accomplishment. Though Rembrandt's afterwards years were marked past personal tragedy and financial hardship, his etchings and paintings were pop throughout his lifetime, earning him an excellent reputation as an artist and teacher. In 1626, Rembrandt produced his commencement etchings, the broad broadcasting of which would largely account for his international fame.

Characteristics of Rembrandt'due south Work

Among the more prominent characteristics of Rembrandt's work is his use of chiaroscuro , the theatrical employment of calorie-free and shadow. This technique was most likely derived from the Dutch Caravaggisti , followers of the Italian Baroque painter Michelangelo Merisi da Caravaggio who had first used the chiaroscuro technique. Also notable are his dramatic and lively presentation of subjects, devoid of the rigid formality that his contemporaries often displayed, and a visible pity for the homo subject field, irrespective of wealth and age.

Throughout his career, Rembrandt took as his primary subjects the themes of portraiture (dependent upon commissions from wealthy patrons for survival), landscape, and narrative painting. For the last, he was specially praised by his contemporaries, who extolled him every bit a masterly interpreter of biblical stories for his skill in representing emotions and attending to detail. His immediate family often figured prominently in his paintings, many of which had mythical, biblical, or historical themes.

Titus every bit a Monk by Rembrandt, 1660: Rembrandt's firsthand family often figured in his paintings. This work features Rembrandt's son Titus every bit a monk.

In subsequently years, biblical themes were even so frequently depicted, just his emphasis shifted from dramatic group scenes to intimate portrait-like figures (such equally in James the Apostle, 1661). In his last years, Rembrandt painted his well-nigh deeply reflective self-portraits (he painted xv from 1652 to 1669) and several moving images of both men and women (such every bit The Jewish Bride, c. 1666) in love, in life, and before God.

The Jewish Bride, Rijksmuseum in Amsterdam.: In his subsequently years, Rembrandt painted several moving images of both men and women such as this painting of The Jewish Bride.

Stylistically, Rembrandt's paintings progressed from the early "smooth" manner, characterized by fine technique in the portrayal of illusionistic class , to the late "rough" treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the pigment itself. Contemporary accounts sometimes remark disapprovingly of the coarseness of Rembrandt'due south brushwork, and the artist himself was said to have dissuaded visitors from looking too closely at his paintings. The richly varied treatment of pigment, deeply layered and oft apparently haphazard, suggests form and infinite in both an illusory and highly individual way.

Self-Portraiture

Rembrandt's cocky-portraits trace the progress from an uncertain young man, through the dapper and very successful portrait painter of the 1630s, to the troubled but massively powerful portraits of his onetime age. Together, they give a remarkably articulate motion-picture show of the man, his appearance, and his psychological make-upwards, equally revealed by his richly weathered face. In his portraits and self-portraits, he angles the sitter's face in such a way that the ridge of the nose nearly always forms the line of demarcation between brightly illuminated and shadowy areas.

Cocky-portrait, c. 1629: Rembrandt'due south earliest cocky-portraits portray his youthfulness and, sometimes, his uncertainty.

Self-portrait by Rembrandt, 1659: Rembrandt'south numerous self-portraits provide a strong tape of his development every bit an artist and offering insight into his personal psychology.

Mural Art and Interior Painting

Mural and interior genre painting of the Dutch Republic became increasingly sophisticated and realistic in the 17th century.

Learning Objectives

Evaluate Dutch landscape and interior genre painting in the 17th century

Key Takeaways

Key Points

• The first phase of Dutch mural painting was known as the "tonal phase," which was characterized by soft outlines , atmospheric consequence, and focus on the heaven.
• The " classical phase" of Dutch landscapes began in the 1650s and retained an atmospheric quality; nevertheless, they featured contrasting calorie-free and color and the frequent presence of a compositional anchor, such as a prominent tree, tower, or ship.
• Paintings featuring animals emerged as a distinctive sub- genre of Dutch landscape painting around this time.
• Romantic Italianate landscapes, featuring soft gilded lite, besides emerged as a sub-genre of landscape painting.
• Interior genre paintings were likewise extremely popular during the Dutch Democracy, featuring lively scenes from everyday life, such as markets, inns, taverns, and street scenes, as well as domestic interiors.
• Jan Vermeer, whose work uniquely captured lighting in interior spaces , is now the nigh renowned genre painter of the Dutch Republic.

Central Terms

• atmospheric: Evoking a particular emotional or artful quality.
• atmospheric perspective: A technique in which an illusion of depth is created by painting more distant objects with less clarity and with a lighter tone.
• genre: A stylistic category, especially of literature or other artworks.

Background: Dutch and Flemish Painting

Mural painting was a major genre in the 17th century Dutch Republic that was inspired by Flemish landscapes of the 16th century, especially from Antwerp . These Flemish works had non been especially realistic, most having been painted in the studio, partly from imagination, and often withal using the semi-aeriform view style typical of earlier Netherlandish mural painting, in the tradition of Joachim Patinir, Herri met de Bles, and Pieter Bruegel the Elder.

Dutch Landscapes

A more realistic style before long developed in the Netherlands, with lower horizons making information technology possible to emphasize the often impressive cloud formations so typical of the region. Favorite subjects were the dunes forth the western sea coast and rivers with their broad bordering meadows where cattle grazed, often with the silhouette of a city in the distance. Winter landscapes featured frozen canals and creeks. The bounding main was a favorite discipline equally well, holding both armed forces and trade significance. Important early figures in the motion towards realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634).

The Tonal Stage

From the late 1620s, the "tonal phase" of landscape painting began, as artists softened or blurred their outlines and full-bodied on an atmospheric effect. Corking prominence was given to the sky, with human figures usually either absent or pocket-sized and distant. The leading artists of this way were Jan van Goyen (1596–1656), Salomon van Ruysdael (1602–1670), Pieter de Molyn (1595–1661), and, in marine painting, Simon de Vlieger (1601–1653), with a host of small figures.

River Scene by Jan van Goyen, 1652: Jan van Goyen was influential in the "tonal stage" of Dutch landscape painting, which was characterized by softened or blurred outlines and emphasis on the sky.

The Classical Phase

From the 1650s, the "classical phase" began, retaining the atmospheric quality but with more expressive compositions and stronger contrasts of light and color. Compositions are often anchored by a single "heroic tree," windmill, belfry, or transport in marine works. The leading artist of this phase was Jacob van Ruisdael (1628–1682), who produced a cracking quantity and variety of work, including Nordic landscapes of night and dramatic mount pine forests with rushing torrents and waterfalls.

Windmill at Wijk bij Duurstede: Jacob van Ruisdael (1628–1682) was one of the most prominent artists of the classical phase of Dutch landscapes.

Other Landscape Styles

Landscapes with animals in the foreground were a distinct sub-type and were painted by Aelbert Cuyp, Paulus Potter (1625–1654), Adriaen van de Velde (1636–1672), and Karel Dujardin (1626–1678), with Philips Wouwerman painting horses and riders in diverse settings. The cow was a symbol of prosperity to the Dutch and, apart from the horse, past far the near commonly shown animal; goats were used to bespeak Italy.

Another important type of landscape, produced throughout the tonal and classical phases, was the romantic Italianate landscape, typically in more than mountainous settings than are found in the Netherlands, with gold low-cal and sometimes picturesque Mediterranean and ruins. January Both (d. 1652), who had been to Rome and worked with French painter Claude Lorrain, was a leading developer of this sub-genre. Italianate landscapes were popular equally prints, and more landscape paintings past painter Nicolaes Berchem were reproduced in engravings during the period itself than those of any other artist.

A Southern Landscape with a Ruin by Jan Both: Both was known for working in the Italianate landscape style.

Dutch Interior Genre Painting

Apart from landscape painting, the development and enormous popularity of genre painting is the most distinctive feature of Dutch painting during this period. These genre paintings represented scenes or events from everyday life, such as markets, domestic interiors, parties, inn scenes, and street scenes.

Genre painting adult from the realism and detailed groundwork action of Early on Netherlandish painting , which Hieronymus Bosch and Pieter Bruegel the Elder were amid the beginning to turn into their chief subjects. The style reflected the increasing prosperity of Dutch social club, and settings grew steadily more comfy, opulent, and carefully depicted as the century progressed.

Adriaen Brouwer is acknowledged as the Flemish chief of peasant tavern scenes. Earlier Brouwer, peasants were typically depicted outdoors; he unremarkably shows them in a evidently and dim interior. Other artists whose mutual subjects were intimate interior scenes included Nicolaes Maes, Gerard ter Borch, and Pieter de Hooch. Jan Vermeer specialized in domestic interior scenes of centre class life; though he was long a very obscure figure, he is at present the most highly regarded genre painter of Dutch history.

The Milkmaid by Vermeer, 1658: Vermeer is a confirmed chief of Dutch genre painting known for his interior scenes of middle class life.

Still Life Painting

Still life painting flourished during the Golden Age of the Dutch Republic.

Learning Objectives

Discuss themes and attributes of 17th century Dutch still life painting

Key Takeaways

Cardinal Points

• Ambrosius Bosschaert was ane of the early on still life painters of the Dutch Democracy.
• Still lifes presented opportunities for painters to demonstrate their abilities in working with difficult textures and complex forms .
• The vanitas theme, a moral message frequently found in however life painting, alluded to the fleeting nature of life.
• In the mid-16th century, the pronkstilleven manner emerged, focusing on ornate and exotic objects.
• Nevertheless lifes were frequently drawn by copying flowers in books, as the Dutch were leaders in scientific and botanical drawings and illustrations.

Key Terms

• vanitas: A type of notwithstanding life painting, symbolic of mortality and feature of Dutch painting in the 16th and 17th centuries.
• Pronkstilleven: A style of ornate still life painting produced in Holland in the 17th century.

Overview: Dutch Nevertheless Life Painting

The Dutch yet life tradition was largely initiated by Ambrosius Bosschaert (1573–1621), a Flemish-born bloom painter who had settled in the north by the commencement of the catamenia and founded a dynasty . Early on still lifes were relatively brightly lit, with bouquets of flowers arranged in a uncomplicated way. From the mid-15th century, arrangements that could adequately be called Bizarre , unremarkably against a dark background, became more pop, exemplified by the works of Willem van Aelst (1627–1683). Painters from Leiden, The Hague, and Amsterdam particularly excelled in the genre . In add-on to still life paintings, the Dutch led the globe in botanical and other scientific drawings, prints, and book illustrations at this time.

Flowers in a Porcelain Vase by Ambrosius Bosschaert the Elderberry: Bosschaert was an early on withal life painter who established a dynasty of flower painters.

Themes of Still Lifes

Withal lifes offered a smashing opportunity to display skill in painting textures and surfaces in great detail, and with highly realistic low-cal furnishings. Food of all textures, colors, and shapes—silver cutlery, intricate patterns, and subtle folds in table cloths and flowers—all challenged painters.

Flower paintings were a pop sub-genre of still life and were favored past prominent women artists, such equally Maria van Oosterwyck and Rachel Ruysch. Dead game, besides as birds painted live but studied from death, were some other sub-genre, as were dead fish, a staple of the Dutch diet. Abraham van Beijeren painted this bailiwick frequently.

Virtually all nonetheless lifes had a moralistic message, usually concerning the brevity of life. This is known as the vanitas theme. The vanitas theme was included in explicit symbols, such as a skull, or less obvious symbols such equally a half-peeled lemon (representing life: sweet in appearance but bitter to taste). Flowers wilt and nutrient decays, and silver is of no use to the soul. All the same, the force of this message seems less powerful in the more than elaborate pieces of the second half of the century.

Initially, the subjects of nonetheless life paintings were typically mundane; however, beginning in the mid-century, the pronkstilleven ("ostentatious still life"), showing expensive and exotic objects, became more than popular. Willem Claeszoon Heda (1595–c. 1680) and Willem Kalf (1619–1693) were leaders in this shift toward the pronkstilleven. In the works of all of the still life painters, colors tended to be muted, with browns dominating, especially in the middle of the century.

Feast Still Life, by Abraham Van Bereyen, 1660: This work is an example of an ostentatious yet life.

Despite the intense realism of individual flowers, paintings were composed from individual studies or even book illustrations, and blooms from very dissimilar seasons were routinely included in the same composition . The same flowers also reappear in unlike works, only as pieces of tableware do. In reality, bouquets of flowers in vases were not at all common in houses at the time; even the very rich tended to display flowers one by one in delftware tulip holders.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-dutch-painters/

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