Tag Archives: dutch golden age painting

by Alexandria | 19 October 2019 · 10:50 am

Willem Claeszoon Heda

#ArtSaturday Willem Claeszoon Heda, mostly shortened to Willem Claesz. Heda, 1593/1594 – 1680/1682
Dutch Golden Age painter famous for his still lifes pic.twitter.com/POl8TU8pbu

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda was born to an architect, whose brother was a painter. Not much else is known of Heda's early work, but it is surmised that he began painting by age 20.

Still Life with Roemer, 1630 pic.twitter.com/LUjDocfetw

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Breakfast Pieces, a sub-genre of Still Lifes in Dutch Golden Age painting, depicted tableware, glassware, & exotic foodstuffs only the wealthy could afford.

Still Life with Roemer, Silver Tazza, Watch, Walnuts, & Olives, 1630 (photo: Rijksmuseum) pic.twitter.com/Tull3ddhGd

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Breakfast Pieces were a form of Protestant Reformation Art, in which church leaders wanted to remind viewers to be good and moral without displaying the religious subjects favored by the Roman Catholic Church.

Still Life with Silver Tazza, 1631 pic.twitter.com/uhZjTe7c8l

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Breakfast Pieces were considered to be Vanitas ("remember, you must die") paintings, since the food objects were all subject to decay, as were the wealthy art patrons & viewers.

Breakfast Table with Blackberry Pie, 1631
photo: Google Art Project pic.twitter.com/8yCnvcRjUX

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Most of the paintings done during the Dutch Golden Age were commissioned by wealthy patrons, who displayed the paintings in their own homes.

Still Life with Roemer, Silver Tazza, and Gilded Tankard, 1634 pic.twitter.com/pGabeyvs1u

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Though the Breakfast Pieces were supposed to remind patrons & viewers that "life is short" & "everyone must die," the patrons probably liked the works more for showing how wealthy they were.

Still Life with Oyster, Roemer, and Silver Tazza, 1634 pic.twitter.com/xdUYUWiUXN

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's Breakfast Pieces became famous for his unusual, "unbalanced" compositions of the paintings' objects.

Still Life with Roemer, Oysters, Silver Tazza, Lemon, and Broken Glass, 1634 pic.twitter.com/lhgCTTObDX

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda was also famous for his "monochromatic" paintings: his palette was rather dark with few bright colors, which was very popular during the Dutch Golden Age.

Still Life with Roemer, Silver Tazza, Lemon, Broken Glass, and Breakfast Pie, 1634 pic.twitter.com/TRY0kF3Xj5

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda is considered particularly skilled at displaying the intricate design of goblets, roemers, tazzas, silver plates, mother-of-pearl handled cutlery, etc.

Banquet Piece with Mince Pie, 1635
photo: Google Art Project pic.twitter.com/Lhw1nVPP1d

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda often used the same pieces, rearranged, in his paintings. The mother-of-pearl handled knife, for instance, as well as the silver tazza and the roemer, are in quite a few of his works.

Still Life with Gilt Cup, 1635
photo: Rijksmuseum pic.twitter.com/PQZQC4uR02

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda named most of his works "Still Life." Museums, and art critics/historians name the other items in the paintings to distinguish them from Heda's other works.

Still Life with Silver Tazza, Oysters, Lemon, and Glassware, 1635 pic.twitter.com/oLyKPHmjQo

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's earlier Still Lifes were less crowded than his later ones.

Still Life with Ham and a Roll, 1635-1640 pic.twitter.com/lCeI8Us9BM

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda often portrayed some of the foodstuffs in his Breakfast Pieces after some of them had been consumed.

Still Life with Ham, 1635 pic.twitter.com/SjqfU5mgVV

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda frequently portrayed his glassware overturned or horizontally rather than vertically, which was considered quite unusual and "dramatic."

Still Life with Breakfast Pie and Silver and Pewter Vessels, 1634
photo: Google Art Project pic.twitter.com/kBYLXbvXJA

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Portraying some of the items horizontally rather than vertically allowed Heda to better display the intricate craftmanship of the objects (as well as his talent at painting details).

Still Life with Blackcurrant Pie and Nautilus Cup, c 1635-1640 pic.twitter.com/1vZdWNPZsO

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Some of the objects in Heda's paintings were so expensive, like lemons, that they were considered exotic.

Still Life with Silver Tazza, Nautilus Cup, Oysters, Lemon, and Porcelain Bowl, 1639 pic.twitter.com/oB4DGNlAvQ

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's artistic skill was recognized early in his career by other Haarlem artists, poets, and art patrons/collectors.

Still LIfe with Roemer, Oysters, Soup, Lemon, and Bread, c 1640 pic.twitter.com/FVxxnJ9Dzw

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda often included elaborately folded or draped fabrics along with an assortment of expensive glassware with the exotic (i.e., quite expensive) food objects (like lemon).

Still Life with Gilt Tazza, Tobacco, and Peeled Lemon, c 1640 pic.twitter.com/PWuOhfRLFo

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
In the 1640s, Heda began to add more objects to his works and to modify his compositions.

Still Life with Broken Glass, 1642
photo: Rijksmuseum pic.twitter.com/OvI3CKRMlb

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda began to add more linen, such as napkins and tablecloths, usually crinkled or folded, to his paintings in the 1640s.

Still Life with Silver Pitcher and Breakfast Pie, 1645 pic.twitter.com/jAS9O9Ra9p

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
In the 1650s, Heda lightened his palette considerably.

Breakfast Table with Crab and Lemon, c 1650 pic.twitter.com/pqY1xLvCBw

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda lightened the background of his Breakfast Pieces in the 1650s, "illuminating" the objects on the table.

Still Life with Fruit Pie, Nuts, and Glassware, c 1650 pic.twitter.com/9fa10yta2Q

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's painted reflections of the table objects in the silver and pewter vases, and his intricate portrayal of the light on the glassware is masterful.

Still Life with Breakfast Pie, Roemer, Tazza, Lemon, and Broken Glassware, c 1650 pic.twitter.com/OIi6wNJp6A

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Many of Heda's works feature a watch, complete with key for winding (on a silk ribbon) as Vanitas reminders.

Still Life with Roemer, Silver Goblet, Fish, Bread, Lemon, & Watch, 1650s
(note reflections of sunlit windows in the glass of the Roemer) pic.twitter.com/RSMItfnYnz

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's masterful work is considered some of the best representations of Vanitas paintings, sub-genre Breakfast Pieces, during the period of Protestant Reformation Art & the Dutch Golden Age.

Still Life with Glassware, Silver, and Crab, 1640-1650 pic.twitter.com/CXYvqUshEn

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda's work, along with those of other masters of the Dutch Golden Age, was often ignored in the 1700s and early 1800s.

Still Life with Breakfast Pie, Watch, Roemer, Silver Tazza, and Olives in Porcelain Bowl, 1650s pic.twitter.com/dEYhNzcSaS

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Later artists, critics, and patrons rediscovered Heda (and the other great painters of the Dutch Golden Age, such as Vermeer, Ruysch, and Rembrandt).

Banquet Piece with Ham, 1656
photo: Google Art Project pic.twitter.com/soiOc79jbv

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

#ArtSaturday Willem Claesz. Heda
Heda is one of the most recognized masters of the Dutch Golden Age, and his works are in museums worldwide.

Banquet Piece with Silver Ewer, Crab, Nautilus Cup, Lemon, Nuts in Porcelain Bowl, and Bread, 1658 pic.twitter.com/JLtlTEVg5m

— Dr Alexandria Szeman: Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 19, 2019

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Filed under #ArtSaturday, Art, Art History

Tagged as banquet pieces, breakfast pieces, dutch golden age painting, haarlem painters, protestant reformation art, still life sub-genre paintings, vanitas paintings, vanitas sub-genre paintings, willem claesz. heda, willem claeszoon heda

by Alexandria | 5 October 2019 · 8:35 am

Dutch Golden Age Flower Still Lifes

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
During the 17th century, the Dutch Republic was the most prosperous and influential in Europe, leading the way in science, trade, and art.

Still Life, with Flowers, Abraham Mignon pic.twitter.com/Sr37H3xLoh

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
During the Reformation, the break with Catholicism and Catholic-sponsored religious art, meant that Dutch painters had to “re-invent” Dutch art.

Still Life with Flowers in a Vase, Ambrosius Bosschaert pic.twitter.com/rdrPaXxzPT

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
The re-invention of Dutch art, which freed artists from the religious themes rigidly required by the Catholic Church, influenced future artists.

Flowers in a Vase, Ambrosius Bosschaert pic.twitter.com/4tvVD1Aa13

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Dutch Golden Age painting developed several very distinct genres: landscapes, portraits, genre scenes (such as tavern or home scenes), seascapes, and still lifes.

Still Life, Ambrosius Bosschaert the Younger pic.twitter.com/0WvN9FUkYy

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Flower paintings became a distinct sub-genre of still life paintings in the Dutch Golden Age.

Still Life with Flowers, Insects, and a Shell, Maria van Oosterwijck pic.twitter.com/Dt0s3ucA4d

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Still lifes afforded artists the opportunity to display their painting technique because it involved portraying intricate textures and realistic lighting.

Fruit and Flowers, Balthasar van der Ast pic.twitter.com/qd8aIIRRpL

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Dutch Golden Age flower paintings became the specialty of a few women painters, including Rachel Ruysch and Maria van Oosterwijck.

Still Life with Flowers in a Decorative Vase, Maria van Oosterwijck pic.twitter.com/VpIotL2nRR

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Painters like Rachel Ruysch were famed for flower still lifes, which displayed flowers in minute, realistic detail even though flowers from different seasons appeared in the same work.

Still Life with Flowers, Rachel Ruysch pic.twitter.com/cVcfwrBEgd

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Rachel Ruysch learned to artistically arrange flowers of different seasons into a more natural composition.

Basket of Flowers, Rachel Ruysch pic.twitter.com/nTbGOdFe4L

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Because flowers die in our lifetime, still lifes with flowers were considered part of the Vanitas paintings, whose symbolic message was that life is short, man must die.

Still Life with Flowers and a Watch, William van Aelst pic.twitter.com/hewaanBLqq

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Flower still lifes were typically portrayed against a dark background during the Dutch Golden Age.

Tulips in a Vase, Hans Boulenger pic.twitter.com/k8QbZ680C1

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Just as the Breakfast Pieces or dinner tables portrayed foods only the wealthy could afford, flower still lifes featured flower arrangements only the wealthy could have in their homes.

Flowers and Fruit, Jan Davidsz de Heem pic.twitter.com/f090ab1IJ3

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Flower arrangements in vases, such as those portrayed in these still lifes, were not common in reality: even the wealthy would not have had such flowers arrangements in their homes.

Vase of Flowers, Jan Davidsz de Heem pic.twitter.com/JTGBiivllP

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Even the most wealthy commonly displayed only single flowers in a vase.

Tulip and Rose on a Mantle, Jan Baptist van Fornenburgh pic.twitter.com/UPlMCcR00q

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Ambrosius Bosschaert and his brother-in-law, Balthasar van der Ast, pioneered both paintings featuring shells and those featuring flowers.

Tulip, Balthasar van der Ast pic.twitter.com/z2oyiWk6qH

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Early flower still lifes featured lighter backgrounds, but the dark backgrounds became more fashionable later.

Still Life, Jan van Kessel
(features oysters, game, dog, birds, fruit, flowers, and Delft-vase) pic.twitter.com/DK5XsxWXxY

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Earlier flower still lifes featured fewer flowers arranged in a more natural way; later paintings featured more extravagant arrangements.

Still Life with Flowers, Jean Joseph-Xavier Bidauld pic.twitter.com/T2itk8QR01

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
The more extravagant arrangements against darker backgrounds became popular with the wealthy art patrons.

Still Life with Flowers, Fruit, and Delft Vases, Jan van Kessel pic.twitter.com/kDOgyguOC8

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Wealthy art patrons commissioned paintings: the artists, who wished to make a living & to produce art, conformed to popular taste, such as darker backgrounds.

Still Life with Roses & Poppies on a Stone Ledge, Rachel Ruysch pic.twitter.com/z6f8LeNxcx

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Sometimes, the artists included skulls in the still lifes with flowers, to more directly portray the symbolic Vanitas (all men must die) message.

Still Life with Sunflower and Skull, Maria van Oosterwijck pic.twitter.com/8etgCVU3sW

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Vanitas still lifes reminded viewers that life is short and all men must die, i.e., all men, even those wealthy enough to commission artwork, must die.

Still Life with Globe, Skull, and Flowers, Maria van Oosterwijck pic.twitter.com/jdJuWB0544

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Almost all of the still lifes during this period were simply named “Still Lifes” (sometimes “Still Life with Flowers”), and often the artists used the same flowers in different works.

Still Life with Flowers, Rachel Ruysch pic.twitter.com/pjdCvxl8Cb

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

#ArtSaturday Dutch Golden Age Still Lifes with Flowers
Though 18-19th century critics sometimes denounced Dutch Golden Age still life painters for “artificial compositions,” these painters won respect for their talent in later ages.

Still Life with Flowers, Maria van Oosterijck pic.twitter.com/IQFuD4SN19

— Dr. Alexandria Szeman Award-Winning #Author 📚🖋🎃 (@Alexandria_SZ) October 5, 2019

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Tagged as abraham mignon, ambrosius bosschaert, ambrosius bosschaert the younger, balthasar van der ast, dutch golden age female painters, dutch golden age painters, dutch golden age painting, dutch golden age paintings, dutch golden age still lifes with flowers, dutch still life paintings, hans boulenger, jan baptist van fornenburgh, jan davidsz de heem, jan van kessel, jean joseph-xavier bidauld, maria van oosterwijck, rachel ruysch, willem van aelst

by Alexandria | 6 July 2019 · 8:34 am

Jan Steen

#ArtSaturday Jan Havickszoon Steen, c. 1626 – 1679
17th century Dutch Golden Age genre painter

Self-Portrait, 1670
(one of the few self-portraits where he portrays himself as “serious”) pic.twitter.com/qmrfdxqeFQ

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
His works are known for their bright colors.

Winter Scene, 1650 pic.twitter.com/O5YesR0WxE

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen is well known for his masterful portrayl of light in his paintings.

Peasants Before an Inn, 1650 pic.twitter.com/1bvKN6zpTs

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen was well known during his lifetime and was valued by his contemporary artists.

A Burgomeister and His Daughter (Adolf and Catharina Croeser in Delft), 1655 pic.twitter.com/fAyljhbhcI

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen was the oldest of 8 children, born into a well-to-do family of brewers.

A Game of Bowling, 1655 pic.twitter.com/M01sPWBVZS

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen studied painting and became a student of a well-known landscape painter, van Goyen. Steen married van Goyen’s daughter.

The Drunken Couple, 1655 pic.twitter.com/qrclcu3fLy

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen ran a brewery in Delft for three years but was not financially successful at it.

Baker Arendt Oostwaert and His Wife, 1658 pic.twitter.com/pyEHfxP55I

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen painted scenes of ordinary people going about their daily life, a relatively unknown genre at the time he was creating art.

The Toilette, 1658-59 pic.twitter.com/5tbgA9dNyA

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen

Skittles Players Outside an Inn, 1660 pic.twitter.com/Oq7QrQsmpW

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen’s work often portrays people in less than honorable behavior, such as gambling, drinking, picking pockets.

The Card Players in an Interior, 1660 pic.twitter.com/n1hd9doBDz

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen painted landscapes, interiors, groups, mythological paintings, religious subjects.

The Marriage of Tobias and Sarah with the Angel Raphael Binding the Demon, 1660 pic.twitter.com/8ttdxnWDLI

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen’s portrayals of family life were often boisterously rowdy and “messy.”

Feast of St. Nicholas, 1665-68 pic.twitter.com/Bkbw82SfDz

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen’s paintings of families were so lively and exuberant that a contemporaneous Dutch proverb “Jan Steen’s household” meant a lively and chaotic scene.

The Prince’s Day, c 1660 pic.twitter.com/ndSr9XjR25

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen

Woman in an Interior Feeding a Parrot, also known as The Parrot Cage, c 1660-1670 pic.twitter.com/JxvY98Q08V

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen is famous for his portrayals of rascally or rowdy children.

Children Teaching a Cat to Dance, also The Dancing Lesson, c 1660-70 pic.twitter.com/TBCkq7sdFz

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen

Woman at her Toilette, 1665 pic.twitter.com/gVFyaW69ki

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen often used members of his family as his models for his paintings.

Beware of Luxury, 1663 pic.twitter.com/8N7GRSLMGM

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
In Steen’s family paintings, the adults are often teaching or encouraging the children to imitate bad behavior, such as drinking or smoking.

The Merry Family, 1668 pic.twitter.com/JlzazoSXaz

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen often put himself, in comical roles, in his paintings.

Fantasy Interior with Jan Steen and the Family of Gerrit Schouten, 1663
(Steen is in front of fireplace) pic.twitter.com/No9vLe2j2Q

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
In his famous The Way You Hear It (1665), Steen’s wife is in the left foreground, luxuriously drinking, and Steen himself is to the right background, in hat, laughingly teaching the youngster how to smoke. pic.twitter.com/X1XAiafZBt

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Steen created over 800 paintings: of these, 350 survive.

The Dancing Couple, 1663 pic.twitter.com/Dburyi4rEk

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

#ArtSaturday Steen
Though well-known in his lifetime and respected by his contemporaries, Steen never made enough money from his art to support himself (and his large family).

The Drawing Lesson, 1665 pic.twitter.com/nVoMoyXxo8

— Dr. Alexandria Szeman: #BelieveSurvivors (@Alexandria_SZ) July 6, 2019

♦
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Tagged as dutch golden age painting, Jan Steen

by Alexandria | 26 January 2019 · 9:42 am

Judith Leyster

#ArtSaturday Judith Jans Leyster 1609-1660
Dutch Golden Age painter

Self-Portrait, 1633 pic.twitter.com/Xy1jZtvYUB

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster’s earliest known painting is a copy of a work by artist Frans Hals: Copy of Lute Player

Leyster’s, Copy of Hals’ Lute Player, painted before 1624
Copy of Leyster’s copy of Hals’ Lute Player, by David Bailly, 1624
Frans Hals’ Lute Player pic.twitter.com/r3NLjnioRs

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Her first known signed work was done in 1629.

Boy with Grapes in his Hat, 1629 pic.twitter.com/LhnlxZsXaQ

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
She signed her work with a monogram of her initials JL with a star: Leyster is a play on “Leister,” which means “lead star.”

Jolly Toper, 1629 pic.twitter.com/1ILvVmtLRs

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
“Leister” was the name of her father’s brewery, and “Leister” was the common name among seamen for the North Star. She rarely signed her work with her full name.

Serenade, 1629 pic.twitter.com/E1ayLRgZcF

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster specialized in portrait-like genre scenes, painting genres that were very popular in The Netherlands during the Dutch Golden Age.

Merry Trio, 1629-1631 pic.twitter.com/XPLyjPbU5I

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Much of Leyster’s work is similar to that of her fellow painters during that period in that region: taverns, drinking, laughing, music-playing were all typical themes in these genres.

Happy Couple (also, Carousing Couple), 1630 pic.twitter.com/86ZTD2xGDF

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Art featuring musical instruments and players was very popular.

Young Lady Holding a Lute with Music (in her lap), 1630 pic.twitter.com/v08rHBxmUX

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
As did her contemporaries, Leyster painted scenes that were popular — for purchase — by the growing Dutch middle class which bought art and patronized artists to display their own wealth.

Girl and Boy at a Game of Kolf, 1630 pic.twitter.com/NxXg06Ebgc

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
During the Dutch Golden Age of painting, children were often portrayed as mischievous, playful, laughing.

Two Children with a Cat, 1630 pic.twitter.com/NDNntbl1Vc

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Tavern scenes were extremely popular paintings with patrons.

A Game of Tric Trac, 1630 pic.twitter.com/zFrZjxeWnn

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster

Head of a Child, 1630-1640 pic.twitter.com/kvszJEQrSx

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster’s domestic genre painting The Proposition, where a man is offering money to a married housewife, as opposed to a prostitute, for sexual favors, is a dramatic departure from most proposition paintings (a popular genre).

The Proposition, 1631 pic.twitter.com/pGdLUEMfgx

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Her Self-Portrait (1633) may have been the work she submitted for consideration of acceptance into the Guild. Her Self-Portrait broke portrait tradition by showing a more relaxed pose. (Note: She would probably not have painted in that huge collar.) pic.twitter.com/gMM1F5kC5R

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Although other women were admitted into the Guild in the 17th c, they were not painters: they worked in embroidery, pottery painting, or were considered to be continuing the work of their deceased painter-husbands.

Unequal Love, 1631 pic.twitter.com/33GdxqBTEt

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster

The Concert, 1631 pic.twitter.com/i96lCdV8z4

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Some sources cite Leyster as the first female painter admitted and registered (1633) in the Haarlem Guild (others cite van Baalbergen, 1631).

A Game of Cards, 1633 pic.twitter.com/0d60vcZ7gh

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Within 2 years of joining the Guild, Leyster had 3 male apprentices.

Youth with a Jug, 1633 pic.twitter.com/vNiYrplWRE

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster sued painter Frans Hals for stealing one of her apprentices: Hals took the apprentice as a student without the Guild’s permission.

Portrait of a Man, 1633 pic.twitter.com/QnCNPrTWjm

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
The apprentice’s mother paid Leyster punitive damages for the loss of the apprentice: ½ of what Leyster requested in the suit.

Merry Drinker, 1633 pic.twitter.com/LPV5fdFNZW

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Frans Hals paid a fine for taking Leyster’s apprentice on as a student without the Guild’s permission.

Violinist with Skull (one of the classic Memento Mori [remember you will die] tropes of the period), 1633 pic.twitter.com/UO6w3nAugG

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Though the apprentice was acknowledged by everyone as having been Leyster’s before he began studying with Hals, Leyster was fined for not having officially registered that apprentice with the Guild.

Portrait of a Woman, 1635 pic.twitter.com/eL9AEwSDrX

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
After the lawsuit, the apprentice did not return to studying with Leyster: he remained with Hals.

Young Flute Player, 1635 pic.twitter.com/Rz6DuS6EIU

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
1936: Leyster married the prolific painter Jan Molenaer, who painted similar subjects and had a great many clients. The couple moved to Amsterdam, where Molenaer was established.

Boy Playing a Violin, 1635 pic.twitter.com/2VWvoh61XN

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster and Molenaer had five children. Most of Leyster’s work dates from the period before she married and had children.

Still Life with Apples and Grapes in a Wicker Basket, 1635 pic.twitter.com/0ERL71GRGs

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
After her death, her entire body of work was attributed either to Frans Hals or to her husband Jan Molenaer.

Boy and Girl with a Cat and an Eel, 1640 pic.twitter.com/MvN9S7ObA8

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
After her death, many of her paintings were inventoried as “the work of the wife of Molenaer” rather than under her own name.

Early Brabantion (or, Brabantson) Tulip (in a book about tulips), 1643 pic.twitter.com/4U1dkenNvY

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Her distinctive signature — JL* — was discovered on several paintings in the 1890s, when her work was re-attributed to her rather than to her husband Molenaer or her Frans Hals.

Flowers in a Vase, 1654 pic.twitter.com/9eLaBgnHXW

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

#ArtSaturday Judith Leyster
Leyster died in 1660, aged 50. pic.twitter.com/HIIvivZD3e

— Alexandria Szeman: There Is a House in New Orleans (@Alexandria_SZ) January 26, 2019

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Filed under #ArtSaturday, Art, Art History

Tagged as dutch golden age, dutch golden age female painters, dutch golden age painting, frans hals, genre painting, jan molenaer, judith leyster

by Alexandria | 31 March 2018 · 10:24 am

Johannes Vermeer

#ArtSaturday Johannes (or Jan or Johan) Vermeer 1632–1675
Dutch Golden Age painter who specialized in domestic interior scenes of middle-class life

(detail of Vermeer painting with only frontal view that is surmised to be the artist) pic.twitter.com/tOlsOXZhlW

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Best known for his extensive use of very expensive pigments in paints

View of Delft pic.twitter.com/SQLY44StSm

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Vermeer’s technique is so photo-realistic that some critics question how he was able to paint such fine details.

The Little Street pic.twitter.com/82pp5iYpBd

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Only 3 Vermeer paintings are dated, and those are all early ones.

The Procuress, 1656
(Vermeer is presumed to be the man on the far L, looking out of the painting at the viewers.) pic.twitter.com/zENknRu5i5

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
There were many new scientific and exploration discoveries during this period, and Vermeer featured many of them in his paintings. Globes and maps a sign of education and wealth in Vermeer’s paintings.

The Astronomer, 1668 pic.twitter.com/5hvk9T5Ydq

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Vermeer signature (I — for J — VerMeer) followed by the date in Roman numerals (MDCLXVIIII) appears on the wall above the map, upper R of painting.

The Geographer, 1669 pic.twitter.com/uoe8lcq0U4

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Vermeer lavishly used Ultramarine, made from ground lapis lazuli, which was very expensive. Lapis Lazuli Ultramarine was, by tradition, associated with the robes of the Virgin Mary in religious paintings.

The Milkmaid
(note nail-holes in wall behind her) pic.twitter.com/O5VRQUf21h

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
In addition to the expensive Ultramarine, Vermmer extensively used expensive lead-tin yellow. Here it is in draperies and in ermine-trimmed jacked. In The Milkmaid, this yellow was in her bodice.

Woman with a Pearl Necklace pic.twitter.com/RZUrCYadlr

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
This ermine-trimmed housecoat, painted in the expensive lead-tin yellow, is also featured in A Lady Writing a Letter pic.twitter.com/X4g1wmsqoD

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Lead-tin Yellow was known as the “yellow of the Old Masters.”

The ermine-trimmed housecoat appeared in several of his paintings, but it is not known if the housecoat belonged to Vermeer’s wife (or mother-in-law, who lived with them). pic.twitter.com/KKnjMGgAuI

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Woman Doing Lace-Work pic.twitter.com/m24vGAkug0

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Madder Lake (which is in the red blouse of the seated woman) was also very expensive. It was one of Vermeer’s favorite pigments for paint.

Christ in the House of Mary & Martha pic.twitter.com/tMyAHBZJCm

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Vermeer also extensively used vermillion, a brilliant red paint made from ground cinnabar, and featured in the dress of the lady in this painting.

A Lady and Two Gentlemen pic.twitter.com/UrvVSEYN4l

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

The Music Lesson, 1662-63

featuring lead-tin yellow, vermillion, and lead-white
The woman’s face, along with the marble floor tile, is reflected in the mirror on the wall behind the virginal. pic.twitter.com/hJpyJVxcEW

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Young Woman with a Water Pitcher

Table carpet features vermillion and madder red, map on wall has lead-tin yellow, woman’s gown has lapis lazuli ultramarine. pic.twitter.com/WezAyWPPU4

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Maps, which were very expensive, represented wealth and learning (necessary in order to read them). Maps appear in several Vermeer paintings.

Officer and Laughing Lady (between 1655 and 1670) pic.twitter.com/Dc4OnCMt8t

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
The tables are often covered with very expensive Oriental carpets in Vermeer paintings, and the carpets are highly detailed (as is the interior of the blue-and-white Delft bowl, with fruit, in this painting).

Young Woman Asleep at Table pic.twitter.com/4aUr4R573e

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Girl Interrupted at her Music pic.twitter.com/SNwtxu6hRd

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

The Glass of Wine
(note the stained glass in the window) pic.twitter.com/EJ7AqINNqc

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Musical instruments would have been a sign of learning and of wealth since they were expensive to purchase and required masters to teach the music lessons.
Girl is wearing the ermine-trimmed housecoat. Map on wall behind her.

Woman with a Lute Near a Window pic.twitter.com/z8bhtRyh3Q

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Formerly, some art critics thought Vermeer used a Camera Obscura, which directs an image of the object onto the canvas, which he then painted. Because Vermeer had no (authenticated) formal art training, they assumed he could not paint such detail by himself. pic.twitter.com/nBYXVHvGsv

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Critics have had to modify the “camera obscura theory” since they have been unable to reproduce its supposed effects in painting a canvas.

Lady Writing a Letter with her Maid pic.twitter.com/ux0wXenuEe

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Pearls were very expensive & often appear in Vermeer’s paintings as a sign of wealth.

Some critics think the woman in this painting may be Vermeer’s wife – because she’s pregnant & his wife had many children – but there is no evidence

Woman with a Balance pic.twitter.com/Xc8lUuakT9

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Virtually all of Vermeer’s painted figures are illuminated by light coming from the left. Mostly, the light is from the same leaded windows in Vermeer’s studio. pic.twitter.com/yh0ZdDS5WW

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Lady Standing at Virginal

Cupid is in the large painting on the wall beyond her. Blue-and-white Delft tiles line the wall at the floor level. pic.twitter.com/LvdkXa0BLn

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Earlier in his painting career, Vermeer did more formally accepted subject matter: religious or mythological subjects. Critics date such paintings to Vermeer’s early career.

Saint Praxedis pic.twitter.com/pxBXj1LDwW

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Girl Reading a Letter by a Window

Girl’s face is reflected in the window’s panes. Brass nailhead studs across chairback (in the corner, below the window). Bowl with fruit is blue-and-white Delft china. Oriental carpet covering the table. pic.twitter.com/F8PJsqUuHB

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

The Art of Painting

(Vermeer is the painter, who doesn’t have his face to the viewers. Some critics find humor and self-deprecation in this painting: Vermeer doesn’t show his face, he’s seated, and his leg coverings are “carelessly sliding down.”) pic.twitter.com/CZyLZclWMi

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Lady Seated at Virginal pic.twitter.com/rjf1qI7jcJ

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Woman Reading a Letter
(Some critics say this figure might also be that of Vermeer’s wife — because she’s pregnant.) pic.twitter.com/pMLyZDAy52

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Woman Reading a Letter

(The seated woman in this painting is holding a lute, wearing pearls [necklace & earrings] and the ermine-trimmed housecoat, speaking to a servant, and has paintings on the wall behind her: all signs of extreme wealth.) pic.twitter.com/6HD9uyiwDT

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Allegory of Catholic Faith

Vermeer was Calvinist: he converted to Catholicism to marry his wife. Critics see satirical humor in this painting of “fainting” woman with her foot on globe in front of a painting of Christ on the cross near an altar-like table. pic.twitter.com/wV9PMROec5

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Portrait of a Young Woman

(This model appears in many of his paintings. In this one, she is wearing a pearl earring, and has a headdress similar to that of the girl in Vermeer’s more famous painting.) pic.twitter.com/5k1J4G0HRc

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Girl with a Red Hat

(This is one of the few Vermeer paintings where the light is coming from the R of the figure. This girl also wears pearl earrings.) pic.twitter.com/S1s8G7N6Nh

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Pearls, which were so expensive that they were a luxury item, appear in many of Vermeer’s paintings: as necklaces, earrings, and in strands of pearls spilling out of boxes. pic.twitter.com/w44cf4npyQ

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Since Dutch Calvinism forbade painting of religious subjects (in churches, not in private homes), mythological subjects were therefore considered “imperative” for painters to prove their talent.

Diana and her Companions
(early in Vermeer’s career) pic.twitter.com/UjDN7sqYup

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer

Girl with a Pearl Earring, Vermeer’s most famous painting pic.twitter.com/sFM3q2oSJB

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Girl with a Pearl Earring, during most recent restoration (varnish yellowed, paint cracked with age, chips of paint missing or flipped over and stuck to the wrong places). pic.twitter.com/W6ZmEnLzah

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
Girl with a Pearl Earring, with Scarlett Johansson on R, imitating it for the film version, which was based on a novel. No one knows who the model for Vermeer’s painting was. pic.twitter.com/ZoIURL7tmj

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

#ArtSaturday Vermeer
When Vermeer died at age 43, his widow had to sell all his remaining paintings to support herself and their children (10 or 11 — out of 14? — survived his death). pic.twitter.com/xlLr7ENEXM

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

Thanks to @Mauritshuis and Abbie Vandivere’s Girl with a Blog, we know more than ever about Vermeer’s Girl with a Pearl Earringhttps://t.co/faqMUfychu

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

Thanks to @DavidDCain, I’ve found Tim’s Vermeer, an Oscar-nominated documentary on Tim’s theory on Vermeer’s photo-realistic painting techniques (#spoiler no camera obscura) and his reproduction of those painting techniques. #AlternateHistory https://t.co/5KLbfhdM8w

— Alexandria Constantinova Szeman, Ph.D. (@Alexandria_SZ) March 31, 2018

Here is the official trailer of the Oscar-nominated documentary, Tim’s Vermeer, where Tim Jenison attempts to re-create Vermerr’s photo-realistic painting techniques via mirror, rather than via a camera obscura.

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Filed under #ArtSaturday, Art, Art History, Official Film Trailers, Official Movie Trailers, Official Trailers

Tagged as camera obscura, dutch golden age painting, Johannes Vermeer, mirror technique, photo-realistic painting, tim's vermeer, Vermeer

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