The Baroque Style of Art Was Popular in the Sixteenth Century Because It

The Night Watch (1642)
By Rembrandt.

Dutch Baroque Painting (c.1600-eighty)
Types, History, Characteristics of Dutch Realism Schoolhouse

Contents

• Dutch Gilt Age of Painting
• Dutch Bizarre Portraits
• Rembrandt
• Dutch Bizarre Genre Painting
• Dutch Baroque Still Life Painting
• Dutch Baroque Landscape Painting
• Greatest Dutch Baroque Painters

EVOLUTION OF VISUAL Art
For details of art movements
and styles, see: History of Art.
For a chronological guide to
fundamental events in the development
of visual arts effectually the globe
see: History of Art Timeline.

WORLD'South GREATEST Fine art
For a listing of the Top 10 painters/
sculptors: All-time Artists of All Time.
For the all-time oils/watercolours,
meet: Greatest Paintings Ever.
For the best plastic art,
run into: Greatest Sculptures Always.

GERMANY
For architecture, painting and
sculpture in Germany, during
the 16th and 17th centuries,
see: German Baroque Art.

Dutch Golden Age of Painting

During the era of Baroque art, the United Provinces, of which Holland was one, occupied the northern role of the Low Countries. Less developed than Flanders, perhaps they had once been the poor relations of the Flemings, just in the seventeenth century the nation was rich, proud, and expanding in influence. In fact it became one of the wealthiest nations in 17th century Europe. It was as well addicted to painting: during the menstruum 1600-lxxx, more than 4 1000000 paintings were produced in Holland - far more than the number produced past artists of the Flemish Baroque - and every sort of person indulged their own appreciation of fine art painting; artisans, merchants, burghers, sailors, shop-keepers - all knew, or prided themselves on knowing, something about it.

The sort of Bizarre painting they admired and which they deputed from their artists were however different from Italian paintings, different even from those of Rubens. The Dutch, existence Protestants, had banished Cosmic-style Christian fine art, which was still the main form of painting in Catholic countries. One time they had gained their independence, they expressed their contentment in the enjoyment of the good things of life: fine, solid houses, convivial company, wearing apparel of high quality. They were, in short, bourgeois, and they wanted pictures that reflected the delectation of bourgeois prosperity: portraits, interiors, genre-paintings (scenes of everyday life) and flush looking still lifes, painted on canvases of moderate size, to hang in ordinary houses.

This was the beginning of the Dutch Gilded Historic period (c.1610-eighty), during which the school of Dutch Realism established itself equally one of the greatest always movements of oil painting in the history of art. The best Baroque paintings by its leading members - such as Rembrandt and Vermeer - represent the summit of man creative achievement and command multi-1000000 dollar prices at auction. The school also gear up standards in the categories of naturalism, all the same life and genre painting, which take hardly been equalled, far less exceeded.

Dutch Baroque Portraiture

Frans Hals (1580-1666) was the first bully exponent of portrait art of the Dutch Baroque schoolhouse: the first to shake off the dominant Italian classical approach to portraiture, in favour of a more realistic manner. A fashion in which his sharp eye for ascertainment and lively power of expression could conjure upwardly a suitably unique composition. Hals painted what his customers wanted, and in prosperous, bourgeois The netherlands, the new middle class patron wanted above all to see himself in oils. Portraiture was afterwards all the photography of the solar day, except better, because a painter can flatter the sitter better than any camera. Information technology was this genre that Hals mastered. In his brimming vitality, for all his poverty and debt, he could ever console himself by painting the portrait of a jolly fool - capturing the sitter not in the brilliance of a finished portrait, such as Rubens had taught people to wait, but past a new picturesque improvisation, owing its amuse to its like shooting fish in a barrel, loose, brushwork - a style appreciated above all by the 19th century Impressionists.

Rembrandt

Where Hals specialised in capturing the unique exterior of a subject, Rembrandt (1606-69) looked for the inner reality. To put it another way, while the Flemish Baroque painter Rubens personified the exuberant, theatrical, courtly side of Baroque art, Rembrandt represented its tormented, dramatic, introverted aspect. He was the heir to Caravaggio; and he made this inheritance the nucleus of an incomparable accomplishment. It was Rembrandt who gave a new spirituality to the realistic fine art of Holland. He kept the methods of realism, simply gave them a hitherto unknown, translucent luminosity. Above all, he went beneath the surface of his human subjects and exposed some of their inner graphic symbol and soul beneath.

I of his first peachy portrait masterpieces was actually a grouping portrait, a blazon which was especially characteristic of the country and the fourth dimension. During the wars with Spain, many companies of volunteer soldiers had been formed - we should perhaps telephone call them militia companies. After the Dutch victory their members had non gone their separate ways but continued to meet; and each of these companies wanted a grouping portrait to prove their members gathered together. Usually these canvases were of greater width than height, and showed the officers of the company grouped around a table or some other object that would serve as a pretext for a gathering of so many men. The lighting was depicted every bit natural, without any dramatic dissimilarity, giving the same emphasis to each of the subjects.

Rembrandt'southward portrait - highly controversial at the time - is actually entitled The Visitor of Frans Banning Cocq and Willem van Ruytenburch only is more normally known as The Night Watch (1642), considering of the night background from which its figures emerge, partially or wholly illuminated by patches of light. But information technology is not a night scene: the darkness is a technique of caravaggism known as tenebrism, involving the dissimilarity of nighttime shadow with areas of stiff light - a technique which had not been seen before in grouping portraiture. Contrary to convention, the militia officers do not all have the aforementioned importance but are presented in strictly hierarchical order. The helm of the visitor and his lieutenant are seen in strong light in the centre with the others around them, only their heads emerging from the shadow. Such an approach signified the outset of an interest in the utilize of light to observe a single figure, or sometimes simply a face. To see how conventional Dutch painters approached this type of grouping portraiture, see Company of Captain Reinier Reael (Meagre Company) (1637) past Frans Hals.

Caravaggesque methods are likewise axiomatic in Rembrandt'south single portraits, in which the shadows tin can exist even darker and invade nigh the entire canvas. The light falls from one side of the subject, illuminates the face, dramatizes every wrinkle. Sometimes it also strikes a secondary subject - a book, a table, or other object. The rest is an area of darkness whose purpose is to throw into relief those parts that are minutely scrutinized. Skilful examples include: The Conspiracy of Claudius Civilis (1661) Nationalmuseum, Stockholm); Bathsheba Holding Male monarch David'south Letter (1654, Louvre), and the poignant Suicide of Lucretia (1666, Minneapolis Institute of Arts), forth with many of Rembrandt'south self portraits.

Dutch Bizarre Genre Painting

To cater for the rising demand among the bourgeoisie for easel art, notably genre painting, a number of artistic movements sprang up in towns like Haarlem, Delft, Leiden, Utrecht, Dordrecht and Amsterdam. Thus was built-in the Dutch Realist style of genre painting which is still seen every bit the apogee of the idiom. The Haarlem school was represented by Adriaen van Ostade (1610-85) (lowlife peasant scenes), and the Catholic Jan Steen (1626-79) (moralising tavern scenes); while Pieter de Hooch (1629-83) and the incomparable Jan Vermeer (1632-75), represented the Delft school. Utrecht had Hendrik Terbrugghen (1588-1629), and Gerrit van Honthorst (1590-1656), both strongly influenced by Caravaggio, while the Leiden school'due south most famous member was Rembrandt's starting time pupil Gerrit Dou (1613-75), known for his small, colourful, polished works. The Dordrecht school was represented past the "interiors" painter Samuel van Hoogstraten (1627-78) and Nicolaes Maes (1634-93), noted for his kitch genre-paintings and chiaroscuro effect; while the Amsterdam schoolhouse consisted of Rembrandt, his pupils Govaert Flinck (1615-lx), Ferdinand Bol (1616-80), and the talented Carel Fabritius (1622-54) who perished in a gunpowder explosion, as well as Gerard Terborch (1617-81), and Gabriel Metsu (1629-67), noted for his intimate small-scale-scale genre works.

Special mention should exist made of Jan Vermeer of Delft, who in his merely self-portrait, if it is actually anything of the kind, symbolically turns his back on the observer, as if to remain completely concealed within his world. Only from his portraits of elegant women practice we realize how little is known of him - the poverty-stricken father of eleven children - who hardly always left his native city, where he ate his centre out in longing for the aristocratic life; who languished in obscurity for centuries before existence acclaimed as 1 of the all time greats of 17th century Dutch painting, on a par with the purple Rembrandt.

Dutch Bizarre All the same Life Painting

It was in the Baroque period also that a type of moving picture was developed that was to remain successful upwardly to our own time - the 'still life painting', a picture offering an organization of flowers, of more than or less inanimate objects of one kind or another, by and large painted in the studio, that is to say indoors. Of course paintings of this kind had certainly been fabricated earlier, but now they constituted a truthful genre, with practitioners in every country and in every school of painting. Once more the innovator who had founded this kind of painting was Caravaggio, who indeed began his artistic career in this type of work. Not unnaturally, withal, the genre reached its highest evolution in the netherlands, where there was already a precursor, if non a tradition, of realistic, domestic, straightforward painting carefully attentive to the particular of everyday life, which had been produced there from as early on every bit the fifteenth century.

Note: Dutch painters developed a particular genre of nevertheless life fine art - known every bit vanitas painting - which contained moralistic (Biblical) messages.

The tradition of still life art was adult by a number of exceptional painters who included: Willem Claesz Heda (1594-1680) and Pieter Claesz (1597-1660) both members of the Haarlem schoolhouse; Jan Davidsz de Heem (1606-84) of the Utrecht school; Willem Kalf (1619-93) the Amsterdam painter of pronkstilleven paintings; and Rachel Ruysch (1664-1750) the Amsterdam bloom painter, arguably the greatest all the same life artist of the Late Bizarre.

Dutch Bizarre Landscape Painting

Congruent with the classical Idealized landscapes of Claude Lorrain and Nicolas Poussin, working in Rome, the Dutch schoolhouse began to produce great examples of Baroque landscape painting, of which the finest works were created by Jacob van Ruisdael (c.1628-82) and his pupil Meindert Hobbema (1638-1703); other top artists included Philips de Koninck (1619-88) who specialized in big-size panoramic views; and Aelbert Cuyp (1620-91) noted for his soft light and impastoed highlights. Other Baroque landscape painters included: Hendrik Avercamp (1585-1634) who excelled at winter scenes; Cornelis van Poelenberg (1586-1667) who painted Italianate scenes; the naturalist pioneer Esaias van de Velde (1591-1630) and his pupil Jan van Goyen (1596-1656) who produced repetitive views of the Nijmegen River, Dordrecht, sand dunes, and ships; and Salomon van Ruysdael (1600-70) famous for his typical Dutch views and riverscapes.

Dutch Baroque realist painters who specialised in other genres included the Haarlem-based architectural painter Pieter Saenredam (1597-1665), the peerless animal painter Paulus Potter (1625-54), and marine artist Willem van de Velde (1633-1707) from Leiden.

Works reflecting the Dutch Baroque way of painting can be seen in nigh of the best art museums in the world, notably the Rijksmuseum Amsterdam and the Mauritshuis Royal Picture Gallery in The Hague.

Greatest Dutch Baroque Painters

Here is a selected listing of the best Dutch Realist artists, together with some of the greatest genre paintings of the century.

Frans Hals (1582-1666)
One of the greatest Dutch portraitists.
The Laughing Cavalier (1625) oil on canvas, Wallace Drove, London.
Hendrik Terbrugghen (1588-1629)
Dutch genre-painter, Utrecht school.
Flute Players (1621) Staatliche Kunstsammlungen, Kassel.
Gerrit van Honthorst (1592-1656)
Most famous fellow member of the Utrecht School.
Adoration of the Shepherds (1622) Wallraf-Richartz Museum, Cologne.
Pieter Jansz Saenredam (1597-1665)
Architectural artist famous for his austere whitewashed church building interiors.
Interior of the Buurkerk, Utrecht (1644) NG London; KAM Fort Worth, Texas.
Salomon van Ruysdael (1602-lxx)
Painter of landscapes and riverscapes.
River Landscape near Arnhem (1651) Hermitage Museum, St Petersburg.
Adriaen Brouwer (1605-38)
Genre-painter famous for his tavern genre-pictures.
The Bitter Draught (1635) Stadel Art Museum, Frankfurt.
Rembrandt van Rijn (1606-1669)
World's greatest ever portrait creative person; outstanding history painter.
The Anatomy Lesson of Medico Nicolaes Tulp (1632) Mauritshuis.
The Nightwatch (1642) oil on sheet, Rijksmuseum, Amsterdam.
Aristotle Contemplating the Bust of Homer (1653) The Met, New York
Bathsheba Holding King David's Letter (1654) oil on canvass, Louvre, Paris.
Portrait of January Six (1654) oil on canvas, Six Collection, Amsterdam.
The Conspiracy of Julius Civilis (1661-2) National Museum, Stockholm.
Syndics of the Cloth-Makers Gild (De Staalmeesters) (1662) Rijksmuseum.
The Suicide of Lucretia (1666) oil on canvas, Minneapolis Institute of Arts.
The Jewish Helpmate (c.1665-viii) Rijksmuseum, Amsterdam.
Return of the Prodigal Son (1666-69) Hermitage Museum, St Petersburg.
Jan Davidsz de Heem (1606-83)
Notwithstanding life artist, Utrecht/Antwerp Schoolhouse.
A Table of Desserts (1640) oil on canvas, Louvre, Paris.
Nevertheless Life of Fruit (1670) oil on canvas, Ashmolean Museum, Oxford.
Adriaen van Ostade (1610-85)
Painter of peasant scenes, Haarlem school.
Rustic Concert (1638) oil on canvass, Prado, Madrid.
Interior with Peasants (1663) oil on sheet, Wallace Collection, London.
David Teniers the Younger (1610-90)
Noted for pocket-size-scale guardroom scenes and tavern scenes.
Gambling Scene at an Inn (1649) Wallace Drove, London.
Harmen van Steenwyck (1612-56)
Leading exponent of vanitas painting (still lifes with Biblical messages).
An Apologue of the Vanities of Human Life (1640) National Gallery, London.
Emanuel de Witte (1615-1692)
Alkmaar architectural painter noted for church building interiors with homo involvement.
Interior of the Oude Kerk Amsterdam (1669) Individual Collection.
Gerard Terborch (1617-81)
Haarlem schoolhouse genre painter.
Parental Admonition (1654-55) Staatliche Museen zu Berlin.
Woman Writing a Letter (1655) Mauritshuis, The Hague.
Willem Kalf (1619-93)
Even so life artist, noted for pronkstilleven and vanitas paintings.
Still Life with Lobster, Drinking Horn & Glasses (1653) National Gallery, London.
Still Life with Chinese Porcelain Jar (1662) Gemaldegalerie, SMPK, Berlin.
Aelbert Cuyp (1620-91)
Mural artist, Dordrecht schoolhouse.
Dordrecht from the Due north (1650) oil on sheet, Rothschild Collection.
River Landscape with Horseman & Peasants (1658) National Gallery, London.
Carel Fabritius (1622-54)
Rembrandt's all-time educatee. Active in Amsterdam and Delft.
View of Delft (1652) oil on sheet, National Gallery, London.
Paulus Potter (1625-54)
Leading animalier of the Dutch School.
The Bull (1647) oil on canvas, Mauritshuis, The Hague.
Jan Steen (1626-79)
Genre-painter, Leiden school.
The Christening Feast (1664) oil on canvas, Wallace Collection, London.
Samuel Van Hoogstraten (1627-78)
Genre painter, noted for interiors with deep linear perspective.
The Slippers (1654-lx) oil on canvas, Louvre, Paris.
View down the Corridor (1662) oil on panel, Dyrham Park, Great britain.
Jacob Van Ruisdael (1628-82)
Landscape painter, Haarlem school.
The Mill at Wijk Near Duurstede (1670) oil on canvas, Rijksmuseum.
Jewish Cemetery at Ouderkerk (1670) oil on canvas, Alte Meister, Dresden.
Gabriel Metsu (1629-67)
Intimate pocket-size-calibration genre scenes.
The Dissipated Son (1640s) oil on canvas, Hermitage Museum, St Petersburg.
The Music Lesson (1658) oil on canvas, National Gallery, London.
Pieter de Hooch (1629-83)
Genre painter, Delft school.
Courtyard of a House in Delft (1658) oil on sail, National Gallery, London.
The Linen Cupboard (1663) Rijksmuseum, Amsterdam.
Interior of Burgomaster's Council Bedroom (1661-seventy) Thyssen-Bornemisza.
Jan Vermeer (1632-1675)
Leader of Delft school of genre-painting.
Soldier and a Laughing Daughter (c.1658) oil on sail, Frick Collection, New York.
The Milkmaid (c.1658-1660) oil on sheet, Rijksmuseum, Amsterdam.
The Trivial Street (Street in Delft) (c.1657-1658) Rijksmuseum, Amsterdam.
Woman with a Water Jug (c.1664-1665) Metropolitan Museum of Art, NY.
Woman Belongings a Balance (1662-3) National Gallery of Art, Washington DC.
Woman with a Pearl Necklace (c.1662) SMPK, Gemaldegalerie, Berlin.
The Music Lesson (Lady/Gentleman at the Virginals) (c.1665) Royal Collection.
The Concert (c.1665-1666) Isabella Stewart Gardner Museum, Boston, MA.
Girl with a Pearl Earring (Head of a Daughter with a Turban) (c.1665) Mauritshuis.
The Art of Painting: An Apologue (c.1666-1673) Kunsthistorisches Museum.
The Lacemaker (c.1669-1670) oil on canvas, Louvre, Paris.
Girl with a Scarlet Hat (c.1666-1667) National Gallery of Art, Washington DC.
Nicolas Maes (1634-93)
Dordrecht School creative person, noted for genre paintings of kitchen life, portraits.
The Eavesdropper (1657) oil on canvas, Dordrecht Museum, Dordrecht.
Meindert Hobbema (1638-1709)
Terminal major Dutch landscape painter of the 17th century.
A Watermill (1665-viii) oil on canvass, Rijksmuseum, Amsterdam.

For details of European collections containing works illustrating Dutch Realist genre painting or still lifes, see: Art Museums in Europe.

• For more about painting, sculpture, architecture and printmaking, see: Homepage.

---

Art Movements
ENCYCLOPEDIA OF ART HISTORY
© visual-arts-cork.com. All rights reserved.

godfreysadamess.blogspot.com

Source: http://www.visual-arts-cork.com/history-of-art/dutch-baroque.htm

Share this post