Landscapes of Holland, paintings by contemporary artists. Dutch painting, in fine arts
We all know that unique works of art have been created in Holland over the centuries. But what is happening on the contemporary art scene today? Which young artist can take his place in history? Amsterdam, like many other large Dutch cities, has many interesting galleries, who organize large exhibitions of talented creative artists from all over the country. Since there are a huge number of contemporary Dutch artists, known both at home and abroad, their works can be found both in large museums like the Stedelijk and in small galleries KochxBos Gallery or Nederlands Fotomuseum.
Below are five rising Dutch artists who have attracted global attention and will undoubtedly contribute to Dutch art history.
Daan Roosegaard
“The goal of my work is to make people think about the future,” says Roosegaard. This artist and innovator is the winner of several awards. He rose to prominence in the contemporary art world with his 2006 installation Dune. Interactive illuminated signs installed along the Maas River in Rotterdam have opened doors for an artist obsessed with technology, design and architecture. In his works, Roosegaard creates a futuristic world in which people and technology interact harmoniously with each other. From February to May 5, the “Lotus Dome” will be on display in the Beuning hall of the Rijksmuseum. This two-meter dome reacts to the approach of people: hundreds of aluminum flowers bloom, feeling the warmth of visitors.
Levi van Veluw
Traditional ways of creating works of art for van Veluwu, an artist from Heuwelaken, are clearly not enough. His portfolio includes photographs, sculptures, drawings and installations, and the use of himself as material is the hallmark of his work. It is no coincidence that his first exhibition at the Ron Mandos gallery in Amsterdam featured a series of six photographs depicting beautifully detailed drawings ballpoint pen. Instead of a canvas, the artist painted on his own face. The connection between body and surface was discovered by post-war artists, who developed performance art to a level never before seen. But using everyday objects like a pen to create a work of art made a difference for van Veluwe important role in achieving success. By developing the idea in his own personal style, Levi van Veluw was able to exhibit his work in the world's best museums and bring contemporary Dutch art to the international stage.
Tony Van Til
Tony Van Til received higher education majoring in Fine Arts in St. Just - educational institution, located in the small southern town of Breda, in 2007. After graduation, the young artist studies interesting projects. One of them is "Twitter Sculptures". Since 2012, he has maintained a Twitter account where he describes ideas for sculptures in 140 characters. For example, one of the ideas is “a portrait of a Botox beauty, enlarged to the size of a 4-story wall,” others are more abstract: the creation of “shadows with growing pain.” Among the artist’s other works are a series of drawings containing more ideas for sculptures. Is writing on Twitter creative process? For Van Til, the answer is yes.
Anouk Kruythof
This Dordrecht-based artist uses photographs as source material to create sculptures, installations, books and brochures for distribution. She sometimes creates anonymous items (such as cards and posters) that visitors can take home. The Stedelijk Museum is currently hosting an exhibition of her and fellow Dutch artist Pauline Olseten. The installation on the ground floor presents their interpretation of street photography. Characteristic feature works is an emphasized admiration for people and strangers. Another aspect of life that attracts her attention is color. According to the artist, she “creates order in chaos” using the method of color gradation.
Harma Heikens
It is difficult not to mention Harma Heikens when talking about contemporary Dutch art. Her first exhibitions date back to the early 1990s. Life-size sculptures combine manga style and contemporary Street art. The work of Harma Heikens is not easy to perceive, especially at first. Many even called them “quirky kitsch.” This is due to the fact that the artist chose a very painful topic: the exploitation of children in consumer society, where values are distorted. Her sculptures depict the disturbed world of poor and exploited children, acting as a wake-up call to the viewer to address deep-rooted social problems.
The history of any country finds its expression in art, and this pattern is especially indicative in the example of painting. In particular, using the example of painting in the Netherlands, which experienced a revolution that greatly influenced future fate once a unified state. As a result of the revolution in XVII centuryThe Netherlands was divided into two parts: to Holland and Flanders (the territory of modern Belgium), which remained under Spanish rule.
Historical their development took different paths, as well as cultural. This means that it became possible to divide the once common concept of Dutch painting into Dutch and Flemish.
Dutch painting
The culture of Holland in the 17th century is a living embodiment of the triumph of the state that gained independence. Artists, inspired by the taste of freedom, filled this time with the pathos of social and spiritual renewal and for the first time paid close attention to the environment around them - nature, human image. Dutch genre artists are inspired everyday life, small everyday episodes, which becomes one of the characteristic features of Dutch realism.
In addition, the main customers of art were not only representatives of the elite, but also merchants and peasants. This partly influenced the development of painting as an interior item, and also contributed to the growth of public interest in themes of everyday life.
Dutch art of the 17th century is famous branched genre system of painting.
For example, among the landscape painters there were marine painters, artists depicting views of flat areas or forest thickets, there were also masters of winter landscapes or paintings with moonlight; there were genre painters who specialized in figures of peasants, burghers, and scenes of domestic life; there were masters various types still lifes - “breakfasts”, “desserts”, “benches”.
The painter's strict concentration on one subsystem of the genre contributed to the detailing and improvement of all Dutch painting as a whole.
The 17th century is truly golden era Dutch painting.
Artistic Features
Light and subtle sense of color play in paintings by Dutch artists main role.
For example, as in the pictures Rembrandt - an artist who became the personification of an entire era of Dutch painting. Rembrandt was not afraid realistic details, contrary to the canons of depicting reality, and therefore among contemporaries became known as a “painter of ugliness.”
Rembrandt was the first to attach special importance play of light which allowed him to invent something different from the rest writing style. According to Andre Felibien,“... often he just applied broad strokes with a brush and applied thick layers of paint one after another, without giving himself the trouble to make the transitions from one tones to others smoother and softer.”
"Return of the Prodigal Son", 1666-1669
Jan Vermeer(Vermeer/Vermeer of Delft ) – painter of harmony and clarity of vision of the world. Known for the strength of its figurative solutions and the tendency to depict poeticized atmosphere of everyday life, he paid special attention colorful nuance, which made it possible to convey the character of the light-air space.
"Young woman with a jug of water", 1660-1662
Jacob van Ruisdael wrote monumental landscapes in cool colors, which embodied his subtle sense of the dramatic and even gloomy variability of the world.
"Jewish Cemetery", 1657
Albert Cuyp became famous for his unusual look at composition landscape - it is given to him, as a rule, from a low point of view, which allows you to convey the vastness of the space being viewed.
"Cows on the River Bank", 1650
Frans Hals (Hals/Hals) famous outstanding genre and group portraits, attracting with their specificity.
"Gypsy", 1628-1630
Flemish painting
In Flanders the cultural background was noticeably different from the Dutch. Feudal nobility and the Catholic Church still played a major role in the life of the country, being the main customers of art . Therefore, the main types of works of Flemish painting remained paintings for castles, for the city houses of the rich, and majestic altar images for Catholic churches. Scenes ancient mythology And biblical stories, huge still lifes, portraits of eminent customers, depictions of magnificent festivities - the main genres of art in Flanders in the 17th century.
Flemish Baroque art (cheerful, materially sensual, lush in an abundance of forms) was formed from the features of the Italian and Spanish Renaissance in the refraction of its national color, which especially manifested itself in painting.
Flemish liveliness is different monumental forms, dynamic rhythm and triumph of decorative style. This was especially evident in creativity Peter Paul Rubens, who became the central figure of Flemish painting.
His style is characterized by lush, bright images large heavy figures in rapid motion. Rubens is characterized by warm, rich colors, sharp contrasts of light and shadow, and a general spirit of victorious celebration. Eugene Delacroix said:
“His main quality, if preferred to many others, - this is a piercing spirit, that is, a piercing life; without this no artist can be great... Titian and Paolo Veronese They seem terribly meek next to him.”
Everything inherent in his brush became general features the whole school.
"Union of Earth and Water", 1618
Art Jacob Jordaens attracts cheerfulness, monumentality, but at the same time with sincere spontaneity - Jordaens’ love for the image rich feasts(the repeated repetition of the plot of “The Bean King” is proof of this. By the way, anyone who found a baked bean in their piece of pie was elected the Bean King at feasts) and the heroes of Christian legends as healthy Flemings embodies the spirit of the culture of Flanders in the 17th century.
"Feast of the Bean King", 1655
Anthony Van Dyck– a portrait painter who created a type of aristocratic portrait, filled with subtle psychologism, expressed in attention to the dynamics of the silhouette and the general expressiveness of the types.
"Portrait of Charles I hunting", 1635
Frans Snyders known for depicting the sensual nature of things, represented by colorfulness and monumentality decorative still lifes, animalistic paintings.
"Fruit Shop", 1620
Jan Brueghel the Younger- grandson of the artist Pieter Bruegel the Elder, remembered for his skillful mixture of landscape and everyday painting, landscape and allegorical mythological stories, as well as the talented transfer of the panorama effect due to the high position of the horizon.
"Flora against a Landscape", 1600-1610
Main differences between Dutch and Flemish painting
- In Holland becomes the main customer of art working class population, in Flanders - royal court and know.
- Plots. Different customers ask for different things. Ordinary people interested in paintings depicting everyday life around us, among the nobility expectedly in demand ancient and biblical scenes, a demonstration of luxury.
- Manner of writing. Characteristic A subtle sense of chiaroscuro becomes a feature of Dutch painting. From now on, this is the main tool that allows us to refine the image of an unsightly reality. In Flemish painting, the central position is occupied by means of artistic expression characteristic of the Baroque - splendor of form, brilliant color, abundance and luxury.
The end of the era of Dutch and Flemish painting can be called similar - under the influence of French tastes and views, both Dutch and Flemish national consciousness gradually weakens, and therefore the concept of Flemish and Dutch painting becomes a historical past.
The events of the 17th century in Holland and Flanders gave the world outstanding authors and a fresh look at general development trends in world painting.
Sources:
1. Small history of art. Western European art XVII.
2. Flemish and Dutch art of the 17th century. Like two poles of the worldview of the day // banauka.ru/6067.html.
3. The era of Renaissance art in the Netherlands // http://m.smallbay.ru/article/later_renaiss_niderland.html.
Dutch painting originated in the early years of the 17th century. The Dutch school of painting was an independent, great, independent school with unique and inimitable characteristics and identity.
Until the 17th century, Holland did not stand out for its abundance of national artists. While this country was one state with Flanders, it was mainly in Flanders that original artistic movements were intensively created and developed.
Outstanding painters Van Eyck, Memling, Rogier van der Weyden, the likes of whom were not found in Holland, worked in Flanders. Only isolated bursts of genius in painting can be noted at the beginning of the 16th century; this is the artist and engraver Luke of Leiden, who is a follower of the Bruges school. But Luke of Leiden did not create any school. The same can be said about the painter Dirk Bouts from Haarlem, whose creations hardly stand out against the background of the style and manner of his origins Flemish school, about the artists Mostart, Skorel and Heemskerk, who, despite all their importance, are not individual talents that characterize the country with their originality.
By the end of the 16th century, when portrait painters had already created a school, other artists began to appear and form. A wide variety of talents leads to many various directions and ways of development of painting. Rembrandt's direct predecessors appear - his teachers Jan Pace and Peter Lastman. Genre methods are also becoming more free—historicity is not as obligatory as before. A special, deeply national and almost historical genre is being created - group portraits intended for public places– city halls, corporations, workshops and communities.
This is just the beginning, the school itself doesn’t exist yet. There are many talented artists, among them there are skilled craftsmen, several great painters: Morelse, Jan Ravestein, Lastman, Frans Hals, Pulenburg, van Schoten, van de Venne, Thomas de Keyser, Honthorst, Cape the Elder, finally, Esayas van de Velde and van Goyen - all of them were born at the end of the 16th century.
In development Dutch painting This was critical moment. With an unstable political balance, everything depended only on chance. In Flanders, where a similar awakening was observed, on the contrary, there was already a sense of confidence and stability that was not yet there in Holland. In Flanders there were already artists who had formed or were close to this.
Political and socio-historical conditions in this country were more favorable. There were serious reasons for Flanders to become a great center of art for the second time. For this, two things were missing: several years of peace and a master who would be the creator of the school.
In 1609, the fate of Holland was decided, after the treaty of truce (between Spain and the Netherlands) and the official recognition of the United Provinces, there was immediately a lull. It is amazing how unexpectedly and in what a short period of time - no more than thirty years - in a small space, on ungrateful desert soil, in harsh living conditions, a wonderful galaxy of painters, and great painters at that, appeared.
They appeared immediately and everywhere: in Amsterdam, Dordrecht, Leiden, Delft, Utrecht, Rotterdam, Haarlem, even abroad - as if from seeds that fell outside the field. The earliest are Jan van Goyen and Wijnants, born around the turn of the century. And further, in the interval from the beginning of the century to the end of its first third - Cuyp, Terborch, Brouwer, Rembrandt, Adrian van Ostade, Ferdinand Bohl, Gerard Dau, Metsu, Venix, Wauerman, Berchem, Potter, Jan Steen, Jacob Ruisdael. Next is Pieter de Hooch, Hobbema. The last of the greats were van der Heyden and Adrian van de Velde in 1636 and 1637. Approximately these years can be considered the time of the first flowering of the Dutch school. It was necessary to create art for the nation.
Dutch painting, was and could only be an expression of external appearance, a true, accurate, similar portrait of Holland. The main elements of the Dutch school of painting were portraits, landscapes, and everyday scenes. The Dutch school has been growing and operating for a century.
Dutch painters found subjects and colors to satisfy any human inclinations and affections. The Dutch palette is quite worthy of their drawing, hence the perfect unity of their painting method. I love it Dutch painting easy to recognize by appearance. It is small in size and distinguished by its powerful, strict colors. This requires great accuracy, a steady hand, and deep concentration from the artist.
Exactly Dutch painting gives the clearest idea of this hidden and eternal process: to feel, think and express. There is no more rich picture in the world, since it is the Dutch who include so much content in such a small space. That is why everything here takes on a precise, compressed and condensed form.
For a more complete picture of Dutch painting, it would be necessary to consider in detail the elements of this movement, the features of the methods, and the nature of the palette. Description of the main features Dutch art allows us to distinguish this school from others and trace its origins.
In an expressive manner illustrating Dutch painting, is a painting by Adrian van Ostade from the Amsterdam Museum "Artist's Atelier". This story was one of my favorites Dutch painters. We see an attentive man, slightly hunched over, with a prepared palette, thin, clean brushes and transparent oil. He writes in the twilight. His face is concentrated, his hand is careful.
Only, perhaps, these painters were more courageous and knew how to laugh more carefree and enjoy life than can be concluded from the surviving images.
The foundation for the Dutch school of painting was laid by Jan van Goyen and Jan van Wijnants at the beginning of the 17th century, establishing some laws of painting.
Dutch painting, in fine arts
About half of the 16th table. among Dutch painters there is a desire to get rid of shortcomings Russian art- its gothic angularity and dryness - by studying Italian artists the Renaissance and combining their manner with the best traditions of their own school. This desire is already visible in the works of the aforementioned Mostert; but the main disseminator of the new movement should be considered Jan Schorel (1495-1562), who lived for a long time in Italy and later founded the school in Utrecht from which he came whole line artists infected with the desire to become Dutch Raphaels and Michelangelos. In his footsteps, Maarten van Van, nicknamed Gemskerk (1498-1574), Henryk Goltzius (1558-1616), Peter Montford, nicknamed. Blokhorst (1532-83), Cornelis v. Haarlem (1562-1638) and others belonging to the next period of the German school, such as, for example, Abraham Bloemaert (1564-1651), Gerard Gonthorst (1592-1662), went beyond the Alps to imbue themselves with the perfections of the luminaries Italian painting, but fell, for the most part, under the influence of representatives of the decline of this painting that was beginning at that time and returned to their homeland as mannerists, imagining that the whole essence of art lies in the exaggeration of muscles, in the pretentiousness of angles and the panache of conventional colors. However, the Italians' passion for painting, which often extended to extremes in the transitional era of Georgia, brought a kind of benefit, since it brought into this painting better, more learned drawing and the ability to manage composition more freely and boldly. Together with the Old Netherlandish tradition and boundless love for nature, Italianism became one of the elements from which the original, highly developed art of the flourishing era was formed. The onset of this era, as we have already said, should be timed to early XVII Art., when Holland, having won its independence, began to live new life. The dramatic transformation of an oppressed and poor country just yesterday into a politically important, comfortable and wealthy union of states was accompanied by an equally dramatic revolution in its art. From all sides, almost at once, they appear in countless numbers. wonderful artists, called to activity by the rise of the national spirit and the need for their work that has developed in society. To the original artistic centers, Haarlem and Leiden, new ones are added - Delft, Utrecht, Dortrecht, The Hague, Amsterdam, etc. Everywhere, the old tasks of painting are being developed in a new way under the influence of changing demands and views, and its new branches, the beginnings of which were barely noticeable in the previous period. The Reformation drove religious paintings out of churches; there was no need to decorate palaces and noble chambers with images of ancient gods and heroes, and therefore historical painting, satisfying the tastes of the rich bourgeoisie, discarded idealism and turned to an accurate reproduction of reality: it began to interpret long-past events as the events of the day that took place in Holland, and in especially took up portraiture, perpetuating in it the features of people of that time, either in single figures or in extensive, multi-figure compositions depicting rifle societies (schutterstuke), which played such a prominent role in the struggle for the liberation of the country - the managers of its charitable institutions (regentenstuke) , shop foremen and members of various corporations. If we decided to talk about all the talented portrait painters of the flourishing era of Gaul. art, then just listing their names with an indication of their best works would take many lines; Therefore, we limit ourselves to mentioning only those artists who are especially outstanding from the general ranks. These are: Michiel Mierevelt (1567-1641), his student Paulus Morelse (1571-1638), Thomas de Keyser (1596-1667) Jan van Ravesteyn (1572? - 1657), predecessors of the three greatest portrait painters of Holland - the sorcerer of chiaroscuro Rembrandt van Rijn ( 1606-69), an incomparable draftsman who had an amazing art of modeling figures in light, but somewhat cold in character and color, Bartholomew van der Gelst (1611 or 1612-70) and striking with the fugue of his brush Frans Gols the Elder (1581-1666). Of these, the name of Rembrandt shines especially brightly in history, at first held in high esteem by his contemporaries, then forgotten by them, little appreciated by posterity, and only in the current century elevated, in all fairness, to the level of world genius. In his characteristic artistic personality concentrated, as if in focus, everything best qualities G. painting and its influence was reflected in all its types - in portraits, historical paintings, everyday scenes and landscape. The most famous among Rembrandt's students and followers were: Ferdinand Bol (1616-80), Govert Flinck (1615-60), Gerbrand van den Eckhout (1621-74), Nicholas Mas (1632-93), Art de Gelder (1645-1727 ), Jacob Backer (1608 or 1609-51), Jan Victors (1621-74), Carel Fabricius (c. 1620-54), Salomon and Philips Koning (1609-56, 1619-88), Pieter de Grebber, Willem de Porter († later 1645), Gerard Dou (1613-75) and Samuel van Googstraten (1626-78). In addition to these artists, for the sake of completeness the list should best portrait painters and historical painters of the period under review can be named Jan Lievens (1607-30), Rembrandt’s friend in the study of P. Lastman, Abraham van Tempel (1622-72) and Peter Nazon (1612-91), who worked, apparently, under the influence of V. d. Gelsta, the imitator of Hals Johannes Verspronck (1597-1662), Jan and Jacob de Braev († 1664, † 1697), Cornelis van Zeulen (1594-1664) and Nicholas de Gelta-Stokade (1614-69). Household painting, the first experiments of which appeared in the old Dutch school, found itself in the 17th century. especially fertile soil in Protestant, free, bourgeois, self-satisfied Holland. Small pictures, artlessly representing the customs and life of different classes of local society, seemed to enough people more entertaining than large works of serious painting, and, along with landscapes, more convenient for decorating cozy private homes. A whole horde of artists satisfies the demand for such pictures, without thinking long about the choice of themes for them, but conscientiously reproducing everything that is encountered in reality, showing at the same time love for their own, dear, good-natured humor, accurately characterizing the depicted positions and faces and refined in the mastery of technology. While some are occupied with common people's life, scenes of peasant happiness and sorrow, drinking bouts in taverns and taverns, gatherings in front of roadside inns, rural holidays, games and skating on the ice of frozen rivers and canals, etc., others take the content for their works from a more elegant circle - they paint graceful ladies in their intimate surroundings, the courtship of dandy gentlemen, housewives giving orders to their maids, salon exercises in music and singing, the revelry of golden youth in pleasure houses, etc. In the long series of artists of the first category, they excel Adrian and Izak v. Ostade (1610-85, 1621-49), Adrian Brouwer (1605 or 1606-38), Jan Stan (about 1626-79), Cornelis Bega (1620-64), Richart Brackenburg (1650-1702), P. v. Lahr, nicknamed Bambocchio in Italy (1590-1658), Cornelis Dusart (1660-1704), Egbert van der Poel (1621-64), Cornelis Drohslot (1586-1666), Egbert v. Gemskerk (1610-80), Henrik Roques, nicknamed Sorg (1621-82), Claes Molenaar (formerly 1630-76), Jan Minse-Molenar (about 1610-68), Cornelis Saftleven (1606-81) and some. etc. Of the equally significant number of painters who reproduced the life of the middle and upper, generally sufficient, class, Gerard Terborch (1617-81), Gerard Dou (1613-75), Gabriel Metsu (1630-67), Peter de Gogh ( 1630-66), Caspar Netscher (1639-84), France c. Miris the Elder (1635-81), Eglon van der Naer (1643-1703), Gottfried Schalcken (1643-1706), Jan van der Meer of Delft (1632-73), Johannes Vercollier (1650-93), Quiring Brekelenkamp (†1668 ). Jacob Ochtervelt († 1670), Dirk Hals (1589-1656), Anthony and Palamedes Palamedes (1601-73, 1607-38), etc. The category of genre painters includes artists who painted scenes of military life, idleness of soldiers in guardhouses, camp sites , cavalry skirmishes and entire battles, dressage horses, as well as falconry and hound hunting scenes akin to battle scenes. The main representative of this branch of painting is the famous and extraordinarily prolific Philips Wouwerman (1619-68). In addition to him, her brother of this master, Peter (1623-82), Jan Asselein (1610-52), whom we will soon meet among the landscape painters, the aforementioned Palamedes, Jacob Leduc (1600 - later 1660), Henrik Verschuring (1627- 90), Dirk Stop (1610-80), Dirk Mas (1656-1717), etc. For many of these artists, landscape plays as important a role as human figures; but in parallel with them, a mass of painters are working, setting it as their main or exclusive task. In general, the Dutch have an inalienable right to be proud that their fatherland is not only the homeland the latest genre, but also landscape in the sense as it is understood today. In fact, in other countries, e.g. in Italy and France, art had little interest in inanimate nature, did not find in it either a unique life or special beauty: the painter introduced landscape into his paintings only as a side element, as a decoration, among which episodes of human drama or comedy are played out, and therefore subordinated it conditions of the scene, inventing picturesque lines and spots that are beneficial to it, but without copying nature, without being imbued with the impression it inspires. In the same way he “composed” nature in those rare cases when he tried to write purely landscape painting. The Dutch were the first to understand that even in inanimate nature everything breathes life, everything is attractive, everything is capable of evoking thought and exciting the movement of the heart. And this was quite natural, because the Dutch, so to speak, created the nature around them with their own hands, treasured and admired it, like a father treasures and admires his own brainchild. Moreover, this nature, despite the modesty of its forms and colors, provided such colorists as the Dutch with abundant material for developing lighting motifs and aerial perspective thanks to the climatic conditions of the country - its steam-saturated air, softening the outlines of objects, producing a gradation of tones on various plans and covering the distance with a haze of silvery or golden fog, as well as the changeability of the appearance of areas, determined by the time of year, hour of day and weather conditions. Among the landscape painters of the flowering period, the Dutch. schools that were interpreters of their domestic nature are especially respected: Jan V. Goyen (1595-1656), who, together with Esaias van de Velde (c. 1590-1630) and Pieter Moleyn the Elder. (1595-1661), considered the founder of the Goll. landscape; then this master's student, Salomon. Ruisdael († 1623), Simon de Vlieger (1601-59), Jan Wijnants (c. 1600 - later 1679), lover of the effects of better lighting Art. d. Nair (1603-77), poetic Jacob v. Ruisdael (1628 or 1629-82), Meinert Gobbema (1638-1709) and Cornelis Dekker († 1678). Among the Dutch there were also many landscape painters who embarked on travels and reproduced motifs of foreign nature, which, however, did not prevent them from preserving in their painting national character. Albert V. Everdingen (1621-75) depicted views of Norway; Jan Both (1610-52), Dirk v. Bergen († later 1690) and Jan Lingelbach (1623-74) - Italy; Ian V. d. Mayor the Younger (1656-1705), Hermann Saftleven (1610-85) and Jan Griffir (1656-1720) - Reina; Jan Hackart (1629-99?) - Germany and Switzerland; Cornelis Pulenenburg (1586-1667) and a group of his followers painted landscapes inspired by Italian nature, with ruins of ancient buildings, bathing nymphs and scenes of an imaginary Arcadia. In a special category we can single out masters who in their paintings combined landscapes with images of animals, giving preference to either the first or the second, or treating both parts with equal attention. The most famous among such painters of rural idyll is Paulus Potter (1625-54); Besides him, Adrian should be included here. d. Velde (1635 or 1636-72), Albert Cuyp (1620-91), Abraham Gondius († 1692) and numerous artists who turned for themes preferably or exclusively to Italy, such as: Willem Romain († later 1693), Adam Peinaker (1622-73), Jan-Baptiste Vanix (1621-60), Jan Asselein, Claes Berchem (1620-83), Karel Dujardin (1622-78), Thomas Wieck (1616?-77) Frederic de Moucheron (1633 or 1634 -86), etc. Closely related to the landscape is the painting of architectural views, which Dutch artists began to be practiced as an independent branch of art only in the half of the 17th century. Some of those who have since worked in this area have been sophisticated in depicting city streets and squares with their buildings; these are, among others, less significant, Johannes Bärestraten (1622-66), Job and Gerrit Werk-Heide (1630-93, 1638-98), Jan v. d. Heyden (1647-1712) and Jacob v. village Yulft (1627-88). Others, among whom the most prominent are Pieter Sanredan († 1666), Dirk v. Delen (1605-71), Emmanuel de Witte (1616 or 1617-92), painted interior views of churches and palaces. The sea was of such importance in the life of Holland that her art could not treat it except with the greatest attention. Many of its artists who dealt with landscapes, genres and even portraits, breaking away from their usual subjects for a while, became marine painters, and if we decided to list all the Dutch painters. schools depicting a calm or raging sea, ships rocking on it, harbors cluttered with ships, naval battles, etc., then we would get a very long list that would include the names of Ya. Goyen, S. de Vlieger, S. and J. Ruisdael, A. Cuyp and others already mentioned in the previous lines. Limiting ourselves to pointing out those for whom painting of marine species was a specialty, we must name Willem v. de Velde the Elder (1611 or 1612-93), his famous son V. v. de Velde the Younger (1633-1707), Ludolf Backhuisen (1631-1708), Jan V. de Cappelle († 1679) and Julius Parcellis († later 1634). Finally, the realistic direction of the Dutch school was the reason that a type of painting was formed and developed in it, which in other schools until then had not been cultivated as a special, independent branch, namely painting of flowers, fruits, vegetables, living creatures, kitchen utensils, tableware etc. - in a word, what is now commonly called “dead nature” (nature morte, Stilleben). In this area between the The most famous artists of the flourishing era were Jan-Davids de Gem (1606-83), his son Cornelis (1631-95), Abraham Mignon (1640-79), Melchior de Gondecoeter (1636-95), Maria Osterwijk (1630-93) , Willem V. Aalst (1626-83), Willem Geda (1594 - later 1678), Willem Kalf (1621 or 1622-93) and Jan Waenix (1640-1719).
The brilliant period of Dutch painting did not last long - only one century. WITH beginning of the XVIII V. its decline is coming, not because the Zuiderzee coast ceases to produce innate talents, but because In society, national self-awareness is weakening more and more, the national spirit is evaporating and the French tastes and views of the pompous era are taking hold. Louis XIV. In art, this cultural turn is expressed by the oblivion on the part of artists of those basic principles on which the originality of painters of previous generations depended, and an appeal to aesthetic principles brought from a neighboring country. Instead of a direct relationship to nature, love of what is native and sincerity, the dominance of preconceived theories, convention, and imitation of Poussin, Lebrun, Cl. Lorrain and other luminaries French school. The main propagator of this regrettable trend was the Flemish Gerard de Leresse (1641-1711), who settled in Amsterdam, a very capable artist and educated in his time, who had a huge influence on his contemporaries and immediate posterity both with his mannered pseudo-historical paintings and works of his own pen, among which one - " Great book painter" ("t groot schilderboec) - for fifty years served as a code for young artists. The famous Hadrian also contributed to the decline of the school. de Werff (1659-1722), whose sleek painting with cold figures, as if carved from ivory, with a dull, powerless color, once seemed the height of perfection. Among the followers of this artist Henryk v. enjoyed fame as historical painters. Limborg (1680-1758) and Philip V.-Dyck (1669-1729), nicknamed "Little V.-Dyck". Of the other painters of the era in question, endowed with undoubted talent, but infected with the spirit of the times, it should be noted Willem and France v. Miris the Younger (1662-1747, 1689-1763), Nicholas Vercollier (1673-1746), Constantine Netscher (1668-1722), Isaac de Moucheron (1670-1744) and Carel de Maur (1656-1738). Some shine was given to the dying school by Cornelis Trost (1697-1750), primarily a cartoonist, nicknamed Dutch. Gogarth, portrait painter Jan Quincgard (1688-1772), decorative and historical painter Jacob de Wit (1695-1754) and painters of dead nature Jan V. Geysum (1682-1749) and Rachel Reisch (1664-1750).
Foreign influence weighed on Dutch painting until the twenties of the 19th century, having managed to more or less reflect in it the changes that art took in France, starting with the wigmaking of the times of the Sun King and ending with the pseudo-classicism of David. When the style of the latter became obsolete and everywhere in Western Europe, instead of the fascination with the ancient Greeks and Romans, a romantic desire was aroused, mastering both poetry and the figurative arts, the Dutch, like other peoples, turned their gaze to their antiquity, and therefore to their glorious past painting. The desire to give it again the brilliance with which it shone in the 17th century began to inspire the newest artists and returned them to the principles of the ancient national masters - to a strict observation of nature and an ingenuous, sincere attitude towards the tasks at hand. At the same time, they did not try to completely get rid of foreign influence, but, going to study in Paris or Dusseldorf and other artistic centers in Germany, they took home from there only an acquaintance with the successes modern technology. Thanks to all this, the revived Dutch school she has again received an original, pretty face and is moving today along the path leading to further progress. She can easily contrast many of her newest figures with the best painters of the 19th century in other countries. Historical painting in the strict sense of the word is cultivated in it, as in the old days, very moderately and has no outstanding representatives; but in part historical genre Holland can be proud of several significant recent masters, such as: Jacob Ekgout (1793-1861), Ari Lamme (b. 1812), Peter V. Schendel (1806-70), David Bles (b. 1821), Hermann ten-Cate (1822-1891) and the highly talented Lawrence Alma-Tadema (b. 1836), who deserted to England. In terms of the everyday genre, which was also included in the circle of activity of these artists (with the exception of Alma-Tadema), one can point to a number of excellent painters, headed by Joseph Israels (b. 1824) and Christoffel Bisschop (b. 1828); besides them, Michiel Verseg (1756-1843), Elhanon Vervaer (b. 1826), Teresa Schwarze (b. 1852) and Valli Mus (b. 1857) are worthy of being named. The newest goal is especially rich. painting by landscape painters who worked and work in a variety of ways, sometimes with careful completion, sometimes with the broad technique of the impressionists, but faithful and poetic interpreters of their native nature. These include Andreas Schelfgout (1787-1870), Barent Koekkoek (1803-62), Johannes Wilders (1811-90), Willem Roelofs (b. 1822), Hendrich v. de Sande-Bockhuisen (b. 1826), Anton Mauwe (1838-88), Jacob Maris (b. 1837), Lodewijk Apol (b. 1850) and many others. etc. Direct heirs of Ya. D. Heyden and E. de Witte, painters of promising views appeared, Jan Verheiden (1778-1846), Bartholomews v. Gowe (1790-1888), Salomon Vervaer (1813-76), Cornelis Springer (1817-91), Johannes Bosbohm (1817-91), Johannes Weissenbruch (1822-1880), etc. Among the newest marine painters of Holland, the palm belongs to Jog. Schotel (1787-1838), Ari Plaisir (b. 1809), Hermann Koekkoek (1815-82) and Henrik Mesdag (b. 1831). Finally, animals were shown in painting great art Wouters Verschoor (1812-74) and Johann Gas (b. 1832).
Wed. Van Eyden u. van der Willigen, "Geschiedenis der vaderlandische schilderkunst, sedert de helft des 18-de eeuw" (4 volumes, 1866) A. Woltman u. K. Woermann, "Geschichte der Malerei" (2nd and 3rd volumes, 1882-1883); Waagen, "Handbuch der deutschen und niderländischen Malerschulen" (1862); Bode, "Studien zur Geschichte der holländischen Malerei" (1883); Havard, "La peinture hollandaise" (1880); E. Fromentin, "Les maîtres d"autrefois. Belgique, Hollande" (1876); A. Bredius, "Die Meisterwerke des Rijksmuseum zu Amsterdam" (1890); P. P. Semenov, "Studies on the history of Dutch painting based on its samples located in St. Petersburg." (special appendix to magazine "Vestn. Fine Arts", 1885-90).
