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Tag Archives: Dutch Golden Age

Picture Books of the Past: Unknown Dutch

Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D.C. and the Orlando Museum of Art in Florida.

As this compelling 17th-century work by an unknown painter illustrates, the Dutch were especially adept at still life painting. (Following your video viewing click HERE to access the additional information provided on the exhibition’s text panels.)

Rafael Govertsz. Camphuysen

Elijah Fed by the Ravens

Rafael Govertsz. Camphuysen

Below the image, click play to listen.

Whatsoever Things Are… Excellent: Mary Magdalene Turning from the World to Christ

 

Mary Magdalene is one of the most intriguing figures in Scripture, and her life story is as apropos today as it was when it was first recorded in Scripture.

 

Visit HERE for the next video to think on things that are Excellent.

Rembrandt van Rijn (school of): Head of Christ

In this moving work we see combined two of Rembrandt’s favorite subjects: portraiture and biblical history.

David de Haen: The Mocking of Christ

The story behind the acquisition of a work is often as fascinating as the story within the frame.

Jan Victors: Esther Accusing Haman

Esther Accusing Haman, considered one of Victor’s finest works, also gives us a fascinating look at actual samples of 17th-century table settings.

Rembrandt Harmensz. van Rijn (school of)

Head of Christ

Rembrandt Harmensz. van Rijn (school of)

Below the image, click play to listen.

 

Jan Hermansz. van Bijlert: Mary Magdalene Turning from the World to Christ

This arresting Mary Magdalene Turning from the World to Christ identifies Jan van Bijlert with the Utrecht Caravaggisti. The work is a beautiful blending of dramatic qualities of naturalism with the brilliant precision of classicism.

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