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Tag Archives: Dutch art

Object of the Month: March 2020

The Mocking of Christ

Oil on canvas

David de Haen

Dutch, c. 1597-1622

And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him and mocked him, saying, Hail, King of the Jews!

Matthew 27:29  

Artist David de Haen is the creator of this interesting canvas, which is called a lunette due to its half-moon shape. The painting is a variant copy painted by the artist of the original subject (and same shape) created for the Pietà Chapel in San Pietro de Montorio in Rome. The original lunette was designed to hang above the large altarpiece depicting Christ on The Way to Calvary. The church has multiple small chapels decorated by various prominent Italian painters from the sixteenth and seventeenth centuries; however, two seventeenth-century Dutch painters are also represented, and de Haen is one of them. 

De Haen was born in Amsterdam sometime around 1597 and lived very briefly—just 25 years—with much of his time spent in Rome. Before his death in 1622, he created some notable works including the Entombment, which was destroyed in Berlin during World War II. The commission for the Pieta Chapel was shared with Dirck van Baburen, an artist also represented in M&G’s collection with St. Sebastian Aided by St. Irene. Both de Haen and Baburen were influenced by Caravaggio’s dramatic style. After his time in Rome, Baburen returned home to Utrecht, where he is credited as a key influencer of the Utrecht Caravaggisti—a group of artists following Caravaggio’s well-known trademarks of realistic representations of people and stark contrast of brilliantly lit scenes against darkly shadowed settings.

Dr. Jones Jr., M&G’s founder, acquired the painting for the Collection in 1986 and explained his fortuitous find, “It came up in an auction at Christie’s, and I noticed in the catalog that, when I measured it and checked the proportions, they exactly fit the end of the room (Gallery 5); so I bought it and put it here, although it is later than the other pictures in th[at] small gallery.”  

A closer study of M&G’s painting reveals two men mocking Christ; both are dressed in period clothing of de Haen’s day. Two, less obvious individuals are seen in the background and could possibly represent Pilate and Herod or Caiaphas and his father-in-law Annas. The bench on which Christ is seated may allude to the stone slab that will ultimately entomb Him. The stone’s sculptural relief is similar to carvings found on Roman marble and limestone sarcophagi, which sometimes depicted narratives from the person’s life.  

As you enter this Easter season, consider these words written by one of His closest followers, the apostle Peter: “For Christ also hath once suffered for sins, the just for the unjust, that He might bring us to God, being put to death in the flesh, but quickened by the Spirit” (I Peter 3:18).

John Good, Security Manager and Docent

 

For Further Study:

Podcast about David de Haen by Dutch expert Dr. Wayne E. Franits

About the artist himself

 

Published in 2020

Object of the Month: March 2018

The Instruments of the Passion of Christ

Oil on panel

Unknown Dutch

Dutch, 17th century

Genre painting could best be described as a painting that depicts everyday life without idealization.  There are many subject matter that fall under the category of genre painting including interior, landscape, and still life.  But what sets genre painting apart from other categories is the narratives or moral tales hidden in plain sight.

It is during the seventeenth century in the Netherlands, known as the Dutch Golden Age, that Dutch painting, sciences, military, and trade flourished.  Genre paintings were a favorite of every class, which reveals both the increasing urbanization of society and the people’s intense love of their national culture and way of living. Still life genre paintings use symbolism to portray common themes such as vanity, the passing of time, the brevity of life, or specific character qualities (vice or virtue).  From the fourteenth century to today, still life paintings use flora, fauna, household items and personal possessions to symbolize ideas, which add depth and meaning to the narrative.

Throughout the Museum & Gallery’s collection, there is only one painting that falls within the category of a still life genre painting.  Painted by an unknown seventeenth-century artist, The Instruments of the Passion is filled to the frame with symbolism.

Instead of painting the entire narrative as recorded in the Gospels, the artist depicts objects as a symbolic and literal reminder of Christ’s sacrifice. Each individual element, painted in great detail, references a part of the greater story. The objects included are: a hammer,
nails, dice, pliers, spear, sponge, lantern, halberd (a sixteenth-century spear-like weapon), brass pan, broken reed, wine flasks, crown of thorns, scarlet robe, purse with 30 silver pieces, and an inscribed parchment (translated “Jesus of Nazareth, King of the Jews”).

While this painting may not be one of the biggest or the prettiest in the Collection, the grouping of these objects provides a powerful representation of Christ’s suffering through the simplicity of symbolism.

KC Beach, former M&G staff member

 

Published in 2018

Object of the Month: June 2015

The Holy Family in the Carpenter Shop 

Oil on canvas

Gerrit van Honthorst, called Gherardo delle Notti

Dutch, 1592–1656

 

Click on the links throughout the article to view additional artists’ works and reference material.

Gerrit van Honthorst was a Dutch painter active during the early 17th century. Born in Utrecht, Holland in 1592, he was trained as an artist, as were two of his brothers. However, Gerrit became the most successful painter in his family. He was also the most famous member of a group called the “Utrecht Caravaggisti,” or those following the style of Michelangelo Merisi da Caravaggio in the northern European area called the Utrecht.

Honthorst is best known for taking Caravaggio’s example of dramatically using natural light and shadow and adapting the technique for nocturnal scenes with artificial light such as candles or lanterns to illuminate his paintings. This style trait gave him the nickname “Gherardo delle Notti” or “Gerard of the Night.”

Honthorst first studied in Utrecht, then lived and worked in Italy for several years before returning to the northern Netherlands in 1620. In 1622, he became a member of the Utrecht Guild of St. Luke and eventually served as its dean in the late 1620’s. Although Honthorst attracted international attention long before becoming a member of the guild, it was during this time, that he began to diversify from the Caravaggesque style by using less artificial light in his major works and made an extremely well-received visit to England, where he was given English citizenship and a lifetime pension (1628). After his return to Utrecht, his international reputation grew widely, especially among the royal and courtly circles in England and other nations.

M&G’s painting, The Holy Family in the Carpenter Shop, returns to the museum this month from an extended loan to the Uffizi Gallery in Florence, Italy, which featured a monograph exhibition showing Honthorst’s lifetime of work.

M&G’s painting is a classic example of the Utrecht Caravaggisti style of painting. The canvas is illuminated by a single candle-lit lantern, and the scene is both nocturnal and heavily shadowed. Honthorst depicts Mary, clothed in her symbolic red garments, helping a young Jesus hold the lantern high so that Joseph can see to carve in his woodshop. This portrayal invites the viewer into the intimate setting while also placing the family in an ordinary work environment.

Mollie Nelson, former M&G graduate assistant

 

Published in 2015

Object of the Month: July 2014

The Mocking of Christ

Oil on canvas, c. 1620–30

Unknown French or Dutch (follower of Michelangelo Merisi da Caravaggio)

Active 17th century

 

The attribution of unsigned paintings is a tricky business and can stump even the most well-respected scholars. Sometimes documentary evidence can help to attribute firmly an author to a painting, and at other times attribution can be securely made by an expert’s trained eye through an analysis and comparison of the artist’s style and technique. The present painting illustrates the difficulty of determining attribution for an unsigned painting several hundred years old due to two complications: a dearth of documentary evidence and the artist’s using a popular style/technique (which limits unique identifying elements to an artist’s individual style).

The starting point for comparison of this work originates with the revolutionary Italian artist, Michelangelo Merisi, called Caravaggio. The dramatic lighting effects and use of ordinary people for models are some of the hallmarks of his style. These same characteristics are carried through in this painting: the shaft of light streaming down from the top center to the lower right and the variety of rugged-looking characters surrounding Christ.

The painting bears a striking similarity to the same paintings of this subject produced by Caravaggio, especially his Crowning of Thorns in the Kunsthistoriches Museum, Vienna. The characters of an armored man with a plumed hat and a torturer wearing a gaping, white shirt are found in both paintings. Even the “V” shape made by the bamboo reeds above Christ’s head are echoed in each composition. Furthermore, several of the figure types reflect similar models in some of Caravaggio’s paintings. For example, the Spanish-looking man with the reed (at the far left) resembles the man holding the ropes (at the far right) in Caravaggio’s Flagellation in the Musee des Beaux-Arts, Rouen. The boy in the feathered hat in the upper right also is a stock character found in a number of Caravaggio’s early genre paintings, including the Cardsharps at the Kimbell Museum of Art.

Comparisons such as these may seem like a good indication for an attribution to Caravaggio. However, his style became extremely popular and widely mimicked—making the task of assigning authorship difficult. Artists from all parts of Europe—France, Spain, Flanders, Holland, and Germany—flocked to Rome in the early 1600s and tried their hand at experimenting with his new style. Artists who incorporated Caravaggio’s style often retained some of their own nuances that made their work unique and more readily identifiable.

Paintings that bear a strong resemblance to Caravaggio’s paintings are often attributed to Bartolomeo Manfredi, his closest Italian follower. The similarity of Manfredi’s style to Caravaggio’s is compelling, making Manfredi a potential part of the equation with the present painting. However, scholars at Sotheby’s have isolated features unlike Manfredi’s style such as the metallic coloring, handling of the drapery, facial features (especially the figure to the far right) to point to an attribution to a Northern artist working in Rome.

The present painting seems to have the closest affinity to artists from France who were working in Rome during the 1620s—namely Nicolas Régnier, Valentin de Boulogne, and Nicolas Tournier. Of these three, the strongest possibility for an attribution for this painting is Tournier, who used similar expressive figure types, compositional arrangement, and handling of paint and drapery, as seen in his Merry Company in the St. Louis Art Museum. The facial type of Christ and handling of drapery are especially close to Tournier’s The Fiasco Drinker in the Galleria Estense, Modena.

Until further research, comparisons, and additional expert opinions support a specific attribution (such as Nicolas Tournier), the painting will continue to carry its current, more general designation as an Unknown French or Dutch Follower of Caravaggio.

John M. Nolan, Curator 

 

Published in 2014

 

Object of the Month: May 2014

Solomon’s Prayer for Wisdom

Oil on canvas, c. 1655

Govaert Flinck

Dutch, 1615–1660

 

Govaert Flinck began his artistic career in the studio of a Mennonite preacher named Lambert Jacobsz of Leeuwarden. However, after Rembrandt settled in Amsterdam, Flinck assured his future success by entering the great master’s studio as a journeyman. He was the first to closely imitate Rembrandt’s new, Amsterdam style, so much so that some of his pictures were sold as if by Rembrandt himself.

In spite of his facility to learn his master’s style, Flinck later abandoned his teacher’s manner to assume a lighter classical style of painting learned from nearby Flanders. This change proved to be one that the patrons loved and, consequently, brought him great popularity and wealth. The officials of Amsterdam patronized Flinck more than any other artist (including Rembrandt), which is evidenced by his winning the most important civil commission in Amsterdam—the decoration of the new town hall—with this very work!

As the winning entry, Solomon’s Prayer for Wisdom is a preparatory sketch for the much larger finished canvas, which still hangs in its original position as a chimneypiece in “The Moses Room” of the Amsterdam town hall. Flinck would have shown the present sketch to the town commissioners for approval before working on the final canvas. This colorful and ambitious composition marks the height of Flinck’s powers as the leading historical painter of his day. Govaert Flinck’s classical style of painting became the standard for Dutch artists for the next hundred years.

John M. Nolan, Curator 

 

Published in 2014

 

Object of the Month: September 2013

St. Mary Magdalene Turning from the World to Christ

Oil on canvas

Jan Hermansz. van Bijlert

Dutch, 1597/98-1671

Mary Magdalene, the penitent sinner, is one of the most popular figures in religious art. Mentioned in all four gospel accounts, Mary followed Christ after He cast seven demons out of her. She witnessed His crucifixion, was present at His burial, was the first to speak with Him following His resurrection, and was sent by Him to tell His apostles that He was no longer dead. Her own story is often confused with other biblical and traditional figures:  the sinner of Luke 7 who wiped Christ’s feet with her hair before anointing them with oil, Mary the sister of Martha and Lazarus, and Mary of Egypt (a penitent prostitute who lived as a recluse in the desert).

In art, Mary Magdalene’s symbols are as varied as the stories attributed to her. Most common is her flowing hair and a jar of ointment, referencing the sinner in Luke 7 as well as the anointing of Christ’s body for burial. A skull and book represent her reflection on the transitory nature of life. A crucifix shows her faith in Christ. And even an egg, more common in Eastern art, references her witnessing Christ’s resurrection.

Jan Hermansz. van Bijlert’s St. Mary Magdalene Turning from the World to Christ (1597/98–1671) breaks from more traditional depictions of Mary Magdalene. As a Dutch Baroque portrait painter, van Bijlert reflected the daily life of those who commissioned his work, the rising middle class merchants. Mary Magdalene, one of his few religious subjects, lacks most of Mary’s traditional symbols. Instead, like his portraits, it reflects Dutch middle class fashion. Mary’s dress, hairstyle, and even the objects representing the world that she is rejecting—the globe, fine fabric, and pearls—would have been familiar to the Dutch middle class.

Though the artist’s style is Dutch, his message is universal: no one can follow both Christ and the world. The treasures of the world are on one side of the painting, and the crucified Christ on the other. Christ Himself taught that no one can serve both God and the world (Luke 16:13). Like Mary Magdalene, every person must choose which he or she will follow. As Mary kneels to the crucified Christ, an angel lays his hand on her arm and points upward, possibly to the risen Christ “who is even at the right hand of God, who also maketh intercession for us” (Romans 8:34).

Amy Beach Ruley, former M&G Graduate Assistant

 

Published in 2013

Object of the Month: April 2013

Joseph Interpreting the Dreams of Pharaoh’s Butler and Baker

Oil on canvas, signed and dated, 1643

Gerbrand van den Eeckhout

Dutch, 1621–1674

Gerbrand van den Eeckhout, the son of a goldsmith, studied with Rembrandt for five years (age 15-20) and was a “great friend” of the famous artist, according to his biographer. He also continued to imitate his teacher’s style throughout his career, especially in his religious paintings. His first signed painting is dated 1641 (age 20), which probably indicates the time he advanced from student to independent artist. Therefore the Museum & Gallery’s painting, dated 1643, was one of his earliest works. In addition to painting, he worked as an etcher and draughtsman. He never lost interest in his father’s work of goldsmithing, often including precisely painted metal objects in his paintings, as well as producing a book of patterns for ornamental designs for metalworkers. His family’s Mennonite faith influenced his preference for religious subject matter, although he was also known for portraiture and landscape painting.

The biblical story of Joseph is an inspiring one. After being sold into slavery by his jealous brothers and being falsely accused of attempted rape in Egypt, the depicted scene shows him in prison. Because of his trustworthiness, he has been placed in a position of leadership within the prison (notice the keys hanging from his waist) and is interpreting the dreams of two of Pharaoh’s servants. The butler (or person who tasted the king’s wine to make sure it was not poisoned) is shown to the right in fancier clothes with a jug at his feet; he would be pardoned in three days. The baker, however, would be killed in three days. We can see the look of despondency on his face as he learns his fate. Although the butler promised to remember Joseph to Pharaoh, it wasn’t until two years later that a circumstance caused him to remember. After all of Joseph’s trials, he praised God and told his brothers, “you meant evil against me, but God meant it for good” (Genesis 50:20).

The provenance, or ownership history, of the painting begins with a sale in Amsterdam in 1762, just a little over 100 years after its creation. The Dundas family of Scotland purchased it, where it remained by family descent until 1953; it became part of the Collection in 1963.

 

Published in 2013

Object of the Month: March 2013

The Holy Family in the Carpenter Shop

Oil on canvas

Gerrit van Honthorst

Dutch, 1592–1656

 

All museums have at least one or two works that visitors love to see again and again. First-time visitors often comment on their preferences after a tour through the galleries, and regular patrons tell us that they enjoy returning to see their favorite works. M&G’s Holy Family in the Carpenter Shop by Gerrit van Honthorst is one such crowd pleaser.

Honthorst’s mastery of lighting effects was inspired by the works of Caravaggio during a sojourn to Italy around 1612 or 1620. Even though Caravaggio only produced two known night paintings which depict artificial lighting such as a candle or a torch, Honthorst and a group of other Dutch artists from Utrecht followed this genre’s techniques and became known as the “Candlelight Painters.” In fact, the Italians gave Gerrit van Honthorst the nickname, Gherardo delle Notti, meaning “Gerard of the Night Scenes.”

For the viewer the primary, gripping element is the effect of light in the painting. Mary, Joseph, and Christ are gathered in a plain, dark room with a soft, warm light illuminating their forms from out of the darkness. Honthorst’s proficiency and sensitivity are noted in his ability first to concentrate the most intense light on the arms of Christ and Joseph and then subtly diffuse the beam as it stretches away from the light source. The emotional effect of the soft lighting is heightened by the characters’ gentle, loving facial expressions as well as the simple, natural portrayal of their manner. Christ holds the oil lamp while Mary carefully steadies His hand in order to position the flame for Joseph to see his work and to prevent Jesus from burning Himself.

In this favored work of M&G patrons, the meaning evoked by the light is as equally compelling as the painterly technique. Although Christ is but a child in the scene, the lamp which He grasps metaphorically alludes to the declaration of an adult Christ, “I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life” (John 8:12). Scripture further describes Christ in these words: “In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not” (John 1:4-5). Perhaps another layer of Biblical significance is present in the work; as the youth eagerly looks to His father to please him and help him, the act faintly implies not only a family value or work ethic of Honthorst’s time, but also a Biblical injunction to children to obey and honor their parents (Ephesians 6:1, 2).

In order to fully appreciate the impression and effect of this remarkable work, come and view the painting for yourself. You will surely come to understand why this painting has become the favorite of so many.

 

Published in 2013

Object of the Month: February 2013

Madonna of the Fireplace

Oil on panel, ca. 1500

Attributed to Jan Gossaert, called Mabuse

Flemish, b. Maubeuge?, ca. 1478, worked in Antwerp, d. Antwerp 1532

 

Though the Madonna of the Fireplace is a painting that continues to lack a firm attribution to a known painter; nonetheless, it is one of the “star” paintings in the collection. One of the primary considerations of Dr. Bob Jones Jr. in assembling the collection during the 1950s and 60s, was the importance of the painting’s quality, even if the work lacked sure authorship by a known artist.

The characteristics of this painting epitomize late fifteenth-century painting in the area of the Low Countries generically referred to as Flanders. The highly angled and stylized folds of the drapery are typical of paintings in the 1400s and even occur in carved sculpture from this period. The slightly awkward proportions and elongated facial features are stylistic hallmarks of the era as well as the very accomplished and detailed surface treatment. Even the setting for Mary and Christ strongly betrays its Northern origins. Though the fireplace carvings and treatment reveal the artist’s knowledge of Italian models, the tile floor patterns and the carved linen-fold wooden paneling would have been found in many well-to-do homes throughout Flanders. It is also the same kind of carved, period paneling on the very gallery wall on which this painting hangs in the museum.

One of the turning points in the history of Northern Renaissance art began when painters started depicting the Virgin in domestic interiors. Artists of the 1300s and early 1400s typically placed the Virgin within a church interior as part of an Annunciation scene or other narratives. However, this setting changed with innovations in the 1420s by Robert Campin, whose famous Merode Altarpiece (Metropolitan Museum of Art, New York) broke with tradition and pictured the Virgin in a domestic interior typical of a fifteenth-century home. M&G’s painter continues Campin’s vision later in the century with this remarkable panel—one of the most beautiful and well preserved paintings in the entire Museum & Gallery Collection.

 

Published in 2013

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