Baroque Art Portraitsafeoff Baroque Art Portrait Red Hat Beard Necklace

The Night Watch (1642)
Past Rembrandt.

Dutch Baroque Painting (c.1600-lxxx)
Types, History, Characteristics of Dutch Realism School

Contents

• Dutch Gold Historic period of Painting
• Dutch Baroque Portraits
• Rembrandt
• Dutch Baroque Genre Painting
• Dutch Baroque However Life Painting
• Dutch Baroque Landscape Painting
• Greatest Dutch Baroque Painters

EVOLUTION OF VISUAL Fine 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 around the earth
see: History of Art Timeline.

World'S GREATEST Fine art
For a list of the Top 10 painters/
sculptors: Best Artists of All Time.
For the best oils/watercolours,
see: Greatest Paintings Ever.
For the best plastic fine art,
run into: Greatest Sculptures Ever.

Frg
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 The netherlands was i, occupied the northern part of the Depression 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 information technology became one of the wealthiest nations in 17th century Europe. It was also addicted to painting: during the period 1600-fourscore, more than four million paintings were produced in Holland - far more than the number produced by artists of the Flemish Bizarre - and every sort of person indulged their ain appreciation of fine fine art painting; artisans, merchants, burghers, sailors, shop-keepers - all knew, or prided themselves on knowing, something about it.

The sort of Baroque painting they admired and which they deputed from their artists were even so unlike from Italian paintings, dissimilar even from those of Rubens. The Dutch, being Protestants, had banished Catholic-manner Christian art, which was yet the main class of painting in Cosmic countries. Once they had gained their independence, they expressed their contentment in the enjoyment of the good things of life: fine, solid houses, convivial company, clothes of high quality. They were, in short, bourgeois, and they wanted pictures that reflected the contentment of bourgeois prosperity: portraits, interiors, genre-paintings (scenes of everyday life) and affluent looking still lifes, painted on canvases of moderate size, to hang in ordinary houses.

This was the beginning of the Dutch Golden Age (c.1610-fourscore), during which the school of Dutch Realism established itself as one of the greatest e'er movements of oil painting in the history of art. The best Baroque paintings by its leading members - such as Rembrandt and Vermeer - correspond the summit of human creative achievement and command multi-million dollar prices at auction. The school as well set standards in the categories of naturalism, however life and genre painting, which have hardly been equalled, far less exceeded.

Dutch Bizarre Portraiture

Frans Hals (1580-1666) was the first not bad exponent of portrait art of the Dutch Baroque school: the outset to milkshake off the dominant Italian classical approach to portraiture, in favour of a more realistic style. A style in which his sharp heart for observation and lively power of expression could conjure up a suitably unique composition. Hals painted what his customers wanted, and in prosperous, bourgeois Holland, the new middle class patron wanted above all to see himself in oils. Portraiture was after all the photography of the twenty-four hour period, except better, because a painter tin flatter the sitter better than any camera. It was this genre that Hals mastered. In his brimming vitality, for all his poverty and debt, he could e'er 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 await, but by a new picturesque improvisation, owing its charm to its easy, loose, brushwork - a fashion appreciated in a higher place all past 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 information technology 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. Information technology was Rembrandt who gave a new spirituality to the realistic fine art of Kingdom of the netherlands. He kept the methods of realism, but gave them a hitherto unknown, translucent luminosity. Above all, he went below the surface of his human subjects and exposed some of their inner grapheme and soul beneath.

One of his first great portrait masterpieces was actually a group portrait, a blazon which was especially characteristic of the country and the time. During the wars with Spain, many companies of volunteer soldiers had been formed - we should possibly call them militia companies. After the Dutch victory their members had not gone their separate ways but continued to run across; and each of these companies wanted a group portrait to testify their members gathered together. Usually these canvases were of greater width than height, and showed the officers of the company grouped effectually a table or some other object that would serve as a pretext for a gathering of then many men. The lighting was depicted every bit natural, without whatever dramatic contrast, giving the aforementioned emphasis to each of the subjects.

Rembrandt'due south portrait - highly controversial at the time - is actually entitled The Company of Frans Banning Cocq and Willem van Ruytenburch but is more than commonly known equally The Dark Watch (1642), because of the dark background from which its figures sally, partially or wholly illuminated past patches of light. But it is not a nighttime scene: the darkness is a technique of caravaggism known as tenebrism, involving the contrast of nighttime shadow with areas of stiff low-cal - a technique which had not been seen before in group portraiture. Opposite to convention, the militia officers exercise not all have the same importance but are presented in strictly hierarchical social club. The captain of the company and his lieutenant are seen in strong lite in the heart with the others around them, only their heads emerging from the shadow. Such an approach signified the beginning of an interest in the utilise of light to find a single figure, or sometimes simply a face up. To see how conventional Dutch painters approached this type of group portraiture, run into Company of Captain Reinier Reael (Meagre Company) (1637) by Frans Hals.

Caravaggesque methods are also evident in Rembrandt'southward single portraits, in which the shadows can exist even darker and invade well-nigh the unabridged canvas. The lite falls from one side of the bailiwick, illuminates the face, dramatizes every wrinkle. Sometimes it also strikes a secondary field of study - a book, a table, or other object. The residual is an area of darkness whose purpose is to throw into relief those parts that are minutely scrutinized. Expert examples include: The Conspiracy of Claudius Civilis (1661) Nationalmuseum, Stockholm); Bathsheba Belongings King David'southward Letter of the alphabet (1654, Louvre), and the poignant Suicide of Lucretia (1666, Minneapolis Institute of Arts), along with many of Rembrandt's self portraits.

Dutch Bizarre Genre Painting

To cater for the rising demand amongst the bourgeoisie for easel art, notably genre painting, a number of creative movements sprang upwards in towns similar Haarlem, Delft, Leiden, Utrecht, Dordrecht and Amsterdam. Thus was built-in the Dutch Realist manner of genre painting which is however seen equally the apogee of the idiom. The Haarlem school was represented by Adriaen van Ostade (1610-85) (lowlife peasant scenes), and the Catholic January Steen (1626-79) (moralising tavern scenes); while Pieter de Hooch (1629-83) and the unequalled January 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's virtually famous member was Rembrandt's start pupil Gerrit Dou (1613-75), known for his minor, colourful, polished works. The Dordrecht schoolhouse was represented by the "interiors" painter Samuel van Hoogstraten (1627-78) and Nicolaes Maes (1634-93), noted for his kitch genre-paintings and chiaroscuro event; while the Amsterdam school consisted of Rembrandt, his pupils Govaert Flinck (1615-60), 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 be made of January Vermeer of Delft, who in his only self-portrait, if it is really anything of the kind, symbolically turns his back on the observer, as if to remain completely curtained within his world. Just from his portraits of elegant women practice nosotros realize how trivial is known of him - the poverty-stricken begetter of eleven children - who hardly always left his native city, where he ate his heart out in longing for the aristocratic life; who languished in obscurity for centuries before being acclaimed as one of the all fourth dimension greats of 17th century Dutch painting, on a par with the majestic Rembrandt.

Dutch Baroque Notwithstanding Life Painting

It was in the Baroque period likewise that a blazon of picture was developed that was to remain successful upwardly to our ain time - the 'still life painting', a pic offer an arrangement of flowers, of more than or less inanimate objects of one kind or another, generally painted in the studio, that is to say indoors. Of grade paintings of this kind had certainly been made earlier, but now they constituted a true genre, with practitioners in every country and in every school of painting. Once again the innovator who had founded this kind of painting was Caravaggio, who indeed began his artistic career in this type of work. Not unnaturally, still, the genre reached its highest development in the Netherlands, where in that location was already a forerunner, if not a tradition, of realistic, domestic, straightforward painting carefully attentive to the particular of everyday life, which had been produced there from as early as the fifteenth century.

NOTE: Dutch painters developed a particular genre of still life art - known as vanitas painting - which contained moralistic (Biblical) messages.

The tradition of however life art was developed past a number of infrequent 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 blossom painter, arguably the greatest even so life artist of the Belatedly Baroque.

Dutch Baroque Mural Painting

Congruent with the classical Arcadian landscapes of Claude Lorrain and Nicolas Poussin, working in Rome, the Dutch school began to produce great examples of Baroque mural painting, of which the finest works were created past Jacob van Ruisdael (c.1628-82) and his student Meindert Hobbema (1638-1703); other top artists included Philips de Koninck (1619-88) who specialized in large-size panoramic views; and Aelbert Cuyp (1620-91) noted for his soft light and impastoed highlights. Other Bizarre 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 fauna painter Paulus Potter (1625-54), and marine artist Willem van de Velde (1633-1707) from Leiden.

Works reflecting the Dutch Bizarre manner of painting can be seen in about of the best fine art museums in the world, notably the Rijksmuseum Amsterdam and the Mauritshuis Royal Picture Gallery in The Hague.

Greatest Dutch Bizarre Painters

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

Frans Hals (1582-1666)
I of the greatest Dutch portraitists.
The Laughing Cavalier (1625) oil on canvas, Wallace Collection, 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.
Admiration of the Shepherds (1622) Wallraf-Richartz Museum, Cologne.
Pieter Jansz Saenredam (1597-1665)
Architectural artist famous for his austere whitewashed church interiors.
Interior of the Buurkerk, Utrecht (1644) NG London; KAM Fort Worth, Texas.
Salomon van Ruysdael (1602-70)
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 Doctor Nicolaes Tulp (1632) Mauritshuis.
The Nightwatch (1642) oil on sail, Rijksmuseum, Amsterdam.
Aristotle Contemplating the Bosom of Homer (1653) The Met, New York
Bathsheba Property King David's Letter (1654) oil on sail, Louvre, Paris.
Portrait of Jan 6 (1654) oil on canvas, Six Collection, Amsterdam.
The Conspiracy of Julius Civilis (1661-2) National Museum, Stockholm.
Syndics of the Cloth-Makers Guild (De Staalmeesters) (1662) Rijksmuseum.
The Suicide of Lucretia (1666) oil on canvas, Minneapolis Institute of Arts.
The Jewish Bride (c.1665-viii) Rijksmuseum, Amsterdam.
Render of the Prodigal Son (1666-69) Hermitage Museum, St Petersburg.
Jan Davidsz de Heem (1606-83)
Yet life creative person, Utrecht/Antwerp School.
A Table of Desserts (1640) oil on canvas, Louvre, Paris.
Nonetheless Life of Fruit (1670) oil on canvas, Ashmolean Museum, Oxford.
Adriaen van Ostade (1610-85)
Painter of peasant scenes, Haarlem schoolhouse.
Rustic Concert (1638) oil on canvass, Prado, Madrid.
Interior with Peasants (1663) oil on canvas, Wallace Collection, London.
David Teniers the Younger (1610-90)
Noted for small-calibration guardroom scenes and tavern scenes.
Gambling Scene at an Inn (1649) Wallace Drove, London.
Harmen van Steenwyck (1612-56)
Leading exponent of vanitas painting (nonetheless lifes with Biblical messages).
An Allegory of the Vanities of Human Life (1640) National Gallery, London.
Emanuel de Witte (1615-1692)
Alkmaar architectural painter noted for church interiors with man involvement.
Interior of the Oude Kerk Amsterdam (1669) Private Drove.
Gerard Terborch (1617-81)
Haarlem school genre painter.
Parental Admonition (1654-55) Staatliche Museen zu Berlin.
Woman Writing a Alphabetic character (1655) Mauritshuis, The Hague.
Willem Kalf (1619-93)
Even so life creative person, noted for pronkstilleven and vanitas paintings.
Still Life with Lobster, Drinking Horn & Glasses (1653) National Gallery, London.
All the same Life with Chinese Porcelain Jar (1662) Gemaldegalerie, SMPK, Berlin.
Aelbert Cuyp (1620-91)
Mural artist, Dordrecht schoolhouse.
Dordrecht from the North (1650) oil on canvas, Rothschild Collection.
River Mural with Horseman & Peasants (1658) National Gallery, London.
Carel Fabritius (1622-54)
Rembrandt'southward best 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.
January Steen (1626-79)
Genre-painter, Leiden schoolhouse.
The Christening Feast (1664) oil on sheet, Wallace Collection, London.
Samuel Van Hoogstraten (1627-78)
Genre painter, noted for interiors with deep linear perspective.
The Slippers (1654-threescore) oil on sheet, Louvre, Paris.
View down the Corridor (1662) oil on console, Dyrham Park, Uk.
Jacob Van Ruisdael (1628-82)
Landscape painter, Haarlem schoolhouse.
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 small-scale genre scenes.
The Prodigal 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 Business firm in Delft (1658) oil on sail, National Gallery, London.
The Linen Cupboard (1663) Rijksmuseum, Amsterdam.
Interior of Burgomaster's Council Chamber (1661-70) Thyssen-Bornemisza.
January Vermeer (1632-1675)
Leader of Delft school of genre-painting.
Soldier and a Laughing Girl (c.1658) oil on sail, Frick Collection, New York.
The Milkmaid (c.1658-1660) oil on canvas, Rijksmuseum, Amsterdam.
The Little Street (Street in Delft) (c.1657-1658) Rijksmuseum, Amsterdam.
Adult female with a H2o Jug (c.1664-1665) Metropolitan Museum of Art, NY.
Woman Holding 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) Purple Collection.
The Concert (c.1665-1666) Isabella Stewart Gardner Museum, Boston, MA.
Girl with a Pearl Earring (Caput of a Girl with a Turban) (c.1665) Mauritshuis.
The Fine art of Painting: An Apologue (c.1666-1673) Kunsthistorisches Museum.
The Lacemaker (c.1669-1670) oil on canvas, Louvre, Paris.
Girl with a Ruddy Hat (c.1666-1667) National Gallery of Art, Washington DC.
Nicolas Maes (1634-93)
Dordrecht Schoolhouse creative person, noted for genre paintings of kitchen life, portraits.
The Eavesdropper (1657) oil on canvas, Dordrecht Museum, Dordrecht.
Meindert Hobbema (1638-1709)
Final major Dutch landscape painter of the 17th century.
A Watermill (1665-viii) oil on sheet, Rijksmuseum, Amsterdam.

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

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