Dutch painting. Hermitage. Dutch painting of the 17th-18th centuries. Little Dutch(2) Dutch everyday painting in the Hermitage

3. Collection of Dutch paintings in the Hermitage

dutch painting household genre

The State Hermitage has one of the world's largest collections of Dutch paintings. Its first exhibits appeared on the banks of the Neva in 1716, long before the museum was founded. This year, Osip Solovyov bought one hundred and twenty-one paintings for Peter I in Holland, and after that, Yuri Kologrivov bought another one hundred and seventeen paintings in Brussels and Antwerp. A little later this collection was joined by one hundred and nineteen works sent to the king by the English merchants Zvan and Elseiom. Dutch paintings, along with Flemish ones, prevailed here: according to the biographer of Peter I, Jacob Shtelin, the favorite artists of the king were Rubens, van Dyck, Rembrandt, Sten, Wauwerman, Brueghel, van der Werf and van Ostade, and his favorite subjects were scenes from life " Dutch men and women. This commitment to all things Dutch should not be seen as merely the personal taste of "Skipper Peter", as Peter was called during his stay in Holland. Dutch burgher democracy, which found a vivid expression in national painting, was especially close to the nature of democratic transformations in Russia at that time in the field of culture and life. But, of course, not only artistic interest was awakened in the Russian audience by the paintings of the Dutch painters. The works of such masters as the tsar's favorite seascape painter Adam Silo satisfied, first of all, the cognitive interest of the young Russian nation going out to sea. The Peter's collection of the Dutch already included such masterpieces as Rembrandt's "David and Jonathan" - the first work of a brilliant painter that came to Russia.

In the second half of the 18th century, many significant works of Dutch painting migrated to St. Petersburg. As part of the collection of G. Bruhl, acquired in Dresden (in 1769), the Hermitage received four portraits by Rembrandt, four landscapes by J. Ruisdael, paintings by G. Terborch, F. Miris, A. van Ostade, A. Wauwermann and others. The Crozat collection in Paris, received in 1772, brought to the museum such Rembrandt masterpieces as Danae and The Holy Family.

The collections of Baudouin (Paris), Walpole (England) and the first wife of Napoleon I, Empress Josephine, acquired for the Hermitage in the late 18th and early 19th centuries, further enriched the Hermitage collection of the Dutch. The Hermitage was then able to include in its exposition "The Sacrifice of Abraham", "Descent from the Cross" and a dozen other canvases by Rembrandt, the work of H. Dow, fashionable in the 18th century, three of the best paintings by P. Potter (among them the masterpiece of the master - "The Farm"), " A glass of lemonade” by G. Terborch, “Breakfast” by G. Metsu, two amazingly delicate executions of flower still lifes by J. van Huysum and many other no less significant works.

An entertaining plot, small size and relatively low prices made Dutch paintings accessible to a large circle of Russian collectors. They were acquired not only by members of the royal house and the highest St. Petersburg nobility, but also by representatives of more democratic circles of the population. These collections will subsequently become the main source of replenishment of the Hermitage collection. So, in 1915, the museum received a huge collection of “small Dutchmen” acquired in 1910 by the famous Russian scientist and traveler P.P. Semenov-Tian-Shansky, who collected seven hundred and nineteen paintings by three hundred and forty authors. With this collection, one hundred and ninety new names appeared in the museum's catalogue. Thus, if earlier the Dutch collection of the Hermitage stood out among other museums in the world by the number of masterpieces, now it has taken one of the first places in terms of the number of names represented in it, including the rarest ones.

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Dutch painting

Not a single national school of painting knew such a stormy flourishing of the still life. Only the ability of the Dutch master to see a particle of being in the smallest thing raised this genre to the level of the leading ones.

Landscape painters have created a truthful, emotionally rich image of their native country. Any state of nature, time of year or day, sky, sea, dunes and swamps in the image of the Dutch artist keep the thrill of life alive. He is equally subject to the subtle lyrical mood of calm and the dramatic pathos of the wild elements, the contrasts of light and shadow, the color richness of the world.

Expressing the new artistic views of society and serving a wider consumer than before - an ordinary citizen of the first bourgeois republic in Western Europe, the painters of Holland found an intelligible, vivid artistic language.

The achievements of Dutch artists marked a new important stage in the progressive development of realism, significantly enriching and deepening its content and creative method. They had a huge impact on contemporary and future art. All progressive artists of the 18th-19th centuries turned to the best examples of Dutch painting. To this day, the bold achievements of the Dutch school remain in service with realist artists, and its paintings, imbued with a life-affirming feeling, continue to deliver true artistic pleasure to the viewer.

The Dutch school gave humanity a galaxy of outstanding masters, led by Hals, Rembrandt, Ruisdael and Vermeer of Delft. Their works have forever entered the world treasury of art and, as the greatest manifestations of human genius, are carefully stored in museums and art galleries.

The State Hermitage has one of the world's largest collections of Dutch paintings. Its first exhibits appeared on the banks of the Neva in 1716, long before the museum was founded. This year, Osip Solovyov bought one hundred and twenty-one paintings for Peter I in Holland, and after that, Yuri Kologrivov bought another one hundred and seventeen paintings in Brussels and Antwerp. A little later this collection was joined by one hundred and nineteen works sent to the king by the English merchants Zvan and Elseiom. Dutch paintings, along with Flemish ones, prevailed here: according to the biographer of Peter I, Jacob Shtelin, the favorite artists of the king were Rubens, van Dyck, Rembrandt, Steen, Wauwermann, Brueghel, van der Werf and van Ostade, and his favorite subjects were scenes from life " Dutch men and women. This commitment to all things Dutch should not be seen as merely the personal taste of "Skipper Peter", as Peter was called during his stay in Holland. Dutch burgher democratism, which found a vivid expression in national painting, was especially close to the nature of democratic transformations in Russia at that time in the field of culture and everyday life. But, of course, not only artistic interest was awakened in the Russian audience by the paintings of the Dutch painters. The works of such masters as the tsar's favorite seascape painter Adam Silo satisfied, first of all, the cognitive interest of the young Russian nation going out to sea. The Peter's collection of the Dutch already included such masterpieces as Rembrandt's "David and Jonathan" - the first work of a brilliant painter that came to Russia.

In the second half of the 18th century, many significant works of Dutch painting migrated to St. Petersburg. As part of the collection of G. Brühl, acquired in Dresden (in 1769), the Hermitage received four portraits by Rembrandt, four landscapes by J. Reissdahl, paintings by G. Terborch, F. Miris, A. van Ostade, A. Wauwermann and others. The Crozat collection in Paris, received in 1772, brought to the museum such Rembrandt masterpieces as Danae and The Holy Family.

An entertaining plot, small size and relatively low prices made Dutch paintings accessible to a large circle of Russian collectors. They were acquired not only by members of the royal house and the highest St. Petersburg nobility, but also by representatives of more democratic circles of the population. These collections will subsequently become the main source of replenishment of the Hermitage collection. So, in 1915, the museum received a huge collection of “small Dutchmen” acquired in 1910 by the famous Russian scientist and traveler P.P. Semenov-Tyan-Shansky, who collected seven hundred and nineteen paintings by three hundred and forty authors. With this collection, one hundred and ninety new names appeared in the museum's catalogue. Thus, if earlier the Dutch collection of the Hermitage stood out among other museums in the world by the number of masterpieces, now it has taken one of the first places in terms of the number of names represented in it, including the rarest ones.

After the Great October Socialist Revolution, on the basis of this collection, an unprecedented special reserve fund was created for the study of Dutch art. Significantly grown during the first years of Soviet power, when the collections of the nobility who fled abroad were nationalized, this fund is replenished even today through the Hermitage Purchasing Commission. So, only in recent years, the museum has received outstanding works by A. Blumart, J. Both, A. van Ostade, K. Berchem and other less prominent, but interesting for the history of the Dutch school of masters.

The best works from this collection are exhibited in the seven large halls of the New Hermitage (248-254) and the long Petrovsky Gallery (rooms 255-257; see floor plan).

(249) is named so because of the unusual ceiling with caissons, covered with paintings in pastel colors. The hall is filled with genre scenes by Dutch painters of the 17th century: Frans Hals, Jan Steen, Salomon Ruisdael and others.

Painting by Jan Brueghel in the Hermitage

The next room (248) also has beautiful decor. Columns made of artificial marble support the ceiling, decorated with magnificent paintings. The octagonal chandelier resembles miniature organ pipes. Among the many paintings there are several small canvases by Jan Brueghel, the son of the great Pieter Brueghel the Elder. Jan Brueghel loved to paint landscapes and genre scenes.

Paintings by Rubens and Van Dyck in the Hermitage

Paintings by Rubens from his heyday (1610–1620) fill room 247. It houses the Descent from the Cross, a famous altarpiece painted for the Capuchin monastery at Lira near Antwerp. In Rembrandt's version of this story, the reality of human suffering and the use of light dominated, and Rubens emphasizes the contrast between the clothes of people and the deathly pale body of the Savior.
"Bacchus" was written in the last year of the artist's life. The master abandoned the traditional image of the young Bacchus, a participant in feasts, and depicted this ancient Roman god as a cheerful, lazy fat man covered with folds of fat. When Rubens had many orders, he entrusted part of the work to his students, in particular Van Dyck. This young artist brought a completely secular interpretation of the biblical theme to the painting “The Feast at Simon the Pharisee”. Later, Van Dyck became the court painter of the English King Charles I and was knighted by him. At the English court, Van Dyck painted several portraits that are considered the best: a portrait of Thomas Wharton, King Charles I and Queen Henrietta Maria. All of these canvases are in room 246. There are also earlier works, including a wonderful self-portrait of the artist.

If you pass through room 248, you will find yourself in a corridor (258) where you will see Flemish landscapes and winter scenes. From this corridor depart two enfilades, towering over the Hanging Garden: the Petrovsky Gallery (255-257) and the Romanovskaya Gallery (261-263). The Petrovsky Gallery exhibits Dutch canvases of the 17th century, while the Romanovskaya Gallery displays examples of medieval and early Flemish painting. Look at the painting "Saint Luke painting the Madonna" by Rogier van der Weyden. Two halves of this piece were purchased the Hermitage separately. And only then did the experts realize that these were parts of the same composition. Other gems of the collection are Robert Campin's Trinity and Madonna and Child diptych, The Healing of the Blind Man by Lucas van Leyden, and Dirk Jacobs' magnificent group portrait of the Amsterdam Fusiliers Corporation.

Quarenghi's office in the Hermitage

At the end of the Petrovsky Gallery is Quarenghi's small study (205). The small office still bears the name of the architect who created it in 1806. A. I. Stackenschneider, during the complete restructuring of the pavilion in 1850–1858, made significant changes to the design of the cabinet. The strict and clear harmony of the cabinet gave way to more elegant decoration techniques. This is the only room in which the original original decoration of the 18th century has been preserved. The walls of the hall are bright red, the ceilings are white with gold, and the columns are made of yellow artificial marble.

Literally this weekend, an exposition with that name closes at the Pushkin State Museum of Fine Arts in the capital, but the opening day in St. Petersburg will be completely different: the collection of Dutch paintings by the American Thomas Kaplan will be supplemented with canvases stored in the largest museum in the Northern capital. “Our masterpieces will either echo individual items in the collection, or continue them, and the exhibition will receive a new context,” emphasizes Irina Sokolova, chief specialist of the Hermitage on Dutch art.

In the museum itself, the upcoming project is called a continuation of the exhibition "Dutch Masters from the Hermitage", which was held with great success in Amsterdam. Then more than 60 paintings were brought from St. Petersburg to their historical homeland, but this time the museum, despite the fact that its collection of Dutch paintings is the largest outside the Netherlands, will show no more than a dozen - the Leiden collection itself will come to the fore (it is named after the city where Rembrandt was born). Petersburgers will see 80 masterpieces from this collection, and in just 15 years the Kaplan spouses managed to collect about 250 items from scratch.

Museum workers call it impossible: the works of Rembrandt and his contemporaries - Frans Hals and Johannes Vermeer, Ferdinand Bol and Govert Flink - practically do not appear at auctions and have long been divided among large art repositories.

The Hermitage was one of the first to exhibit private collections, and this collection is also private, but it is completely museum-level. For me, this exhibition will be a confrontation between black and gold frames - Kaplan has all his paintings in black, and we will exhibit ours in gold frames. Firstly, it is a symbol of that era, and secondly, it will immediately make it clear where whose collection is, - said Mikhail Piotrovsky, director of the State Hermitage Museum.

Another feature of the exhibition will be the captions for each of the paintings - not just labels with names, but real short stories about each of them, prepared by specialists from the St. Petersburg Museum. On the same plates will be placed reproductions of Dutch masterpieces from the Hermitage collection, which will not be presented at the exhibition "live", but are of great importance for understanding the phenomenon of the artistic Leiden school.

And she was also known as masters of fine painting. These works of small size, painted on wood or copper, will also be exhibited in the Nicholas Hall of the Winter Palace. In the paintings, in addition to historical compositions, there are portraits and genre scenes, as well as images of animals. “Fine painting has always been a subject of admiration for collectors,” says Irina Sokolova. “And this virtuosity really impresses. Catherine the Great once bought dozens of fine paintings.”

Dutch art of the 17th century is a special time in the whole world of painting. This is the time that is called the Golden Age of Dutch painting. The 17th century is amazing and very rich in names. At this time, the most brilliant painters were born and created, who are still considered the most unsurpassed masters. A special rise in artistic thought, the birth of masterpieces of world significance. can acquaint you with this time in as much detail as possible. The fact is that the Hermitage houses the largest collection of Dutch painting and art of the 17th century. You will not be able to meet such a meeting as here in the center of St. Petersburg anywhere else. Here are the works of such artists as: Nicholas Mas, Kaspar Netscher, Philips Wauwerman, Konstantin Netscher, Salomon Konink, Jan de Bry, Jacob Bakker and many others.

The art of that time was characterized by a variety of genres, ranging from portraits and battle scenes to everyday genre and mythological themes. However, all these canvases are connected by a special vision of the world of the Dutch artist, a special sense of the beauty of painting. In the canvases that you can see in the halls of the Hermitage, absolutely fabulous realism is concentrated, you can’t say otherwise. This is realism, which is so realistic and at the same time fantastic that it seems to be a fairy tale in which the artist existed. Truthful, convincing and vivid images, spirituality, expressiveness, rich and contrasting colors - all these are characteristic features of the great artists of that time.