In the XVII century Holland has become an exemplary capitalist country. She led an extensive colonial trade, she had a powerful fleet, the shipbuilding was one of the leading industries. Even English shipowners often made orders to Dutch shipyards. Hardworking farmers, the Dutch on the relatively small spaces of the Earth managed to create such a dairy farm, which was famous in the pan-European market. At the end of the XVII - early XVIII century. With the introduction of the International Trade Arena of England and France, Holland loses its economic and political importance, but throughout the XVII century it is the leading economic power of Europe.

At the same time, Holland during this period is the most important center of European culture. The struggle for national independence, the victory of the Burgence determined the character of the Dutch culture of the XVII century. Protestantism (Calvinism as its most severe form), who had a completely influence of the Catholic Church, led to the fact that the clergy in Holland did not have such an influence on art as in Flanders and especially in Spain or Italy. Leiden University was the center of Freewinity. The spiritual atmosphere favored the development of philosophy, natural sciences, mathematics. The absence of a rich patrician and the Catholic clergy had huge consequences for the development of Dutch art. Dutch artists had another customer: the Burgers, the Dutch magistrate, who decorated not palaces and villas, and modest dwellings or public buildings, - therefore, the paintings in the Netherlands of this pore do not have such sizes as the canvas of Rubens or Jordan, and are solved predominantly machines, and Not monumental decorative tasks. In Holland, the Church did not play the role of the customer of works of art: Temples were not decorated with altar images, because Calvinism rejected a luxury hint; Protestant churches were simple in architecture and not decorated inside.

The main achievement of the Dutch art of the XVIII V.-in easel painting. Man and nature were observation objects and images of Dutch artists. Diligence, diligence, love for order and cleanliness was reflected in the paintings depicting Dutch life. Household painting becomes one of the leading genres, the creators of which in history got the name of "small dutch", or for the unassuming of plots, or because of the small size of the paintings, and maybe for the other. The Dutch wanted to see the whole multiform world in the paintings. From here a wide range of painting of this century, "narrow specialization" for certain types of subject: Portrait and landscape, still life and animal genre. There was even specialization inside the genre: evening and night landscapes (art van der rod), "night fires" (Ekbert Van der Poul), landscapes Winter (Avere-Kamp), ships on the raid (Ya. Portsellis), plain landscape (F. KONINK); Still lifes - "breakfasts" (P. Clas and V. Hedda) or image of flowers and fruits (B. van der Aste, Ya. Van Haisum), church interiors (A. de Lorm), etc. Painting on gospel and biblical plots are represented Also, but not in such a volume, as in other countries, as well as antique mythology. In Holland, never had connections with Italy and classic art did not play such a role as in Flanders. Mastering realistic trends, the addition of a certain circle of topics, the differentiation of genres as a single process is completed by the 20th of the XVII century. But in what kind of genre, the Dutch masters would have worked, everywhere they find poetic beauty in everyday, they know how to inspire and raise the world of material things.

The history of Dutch painting XVII century. Perfectly demonstrates the evolution of creativity of one of the largest portraits of Holland France Hals (about 1580-1666). In the 10-30s, Hals works a lot in the group portrait genre. This is mainly the image of rifle guilds - officers' corporations for defense and campus. Burgers wanted to be perpetuated on the canvas, they made a certain fee for the right to be depicted, and the artist was obliged to remember equal attention to each model. But not portrait similarity captures us in these works of Hals. They are pronounced the ideals of the young republic, feelings of freedom, equality, partnership. With the canvases of these years, you look cheerful, energetic, enterprising people, confident in their power and in the future ("Rifle Guild of St. Adriana", 1627 and 1633; "Rifle Guild of St. George", 1627). Hale depicts them usually in a friendly porushka, in a merry feast. Large dimensions of the composition stretched horizontally, a wide confident letter, intense, saturated colors (yellow, red, blue, etc.) create the monumental character of the image. The artist acts as a historist of the whole era.

Individual portraits of Chals researchers are sometimes called genre due to the special specificity of the image, a certain admission of characteristics. In the pose of the Haythheisen swinging on the chair there is something unstable, the expression of the face as if it should change. The portrait of a drunk old woman, the "Harlem Witch", the Saddle of the Kharchevni Malli Babbe (the beginning of the 30s), with the owl on the shoulder and the beer mug in the hand, wearing the traits of the genre painting. Sketch of Hals, his bold letter, when the smear sculpts and the form, and the volume and transmits color; The smear is fat, pasto-old, densely covering canvas, which allows you to trace the tone of the soil, emphasizing one part and inactive the other, internal dynamics, the ability to determine the whole hint - that's the typical features of Hals Handwriting.

F. Hals. Rifle guild of St. George. Fragment. Harlem, Hals Museum

F HALS. Portrait of Villem Van Haythhesena. Brussels, Museum of Fine Arts

Terbor. Concert. Berlin, Museum

In portraits of the Khals of the late period (50-60s), carefree delets, energy, pressure in the characters of depicted persons disappear. In the Hermitage Men's portrait, with all the impressions of the figure, even some quantity trace fatigue and sadness. These features are even more reinforced in a brilliant painting portrait of men in a wide-headed hat from the museum in Kassel (60s). Hale in these years ceases to be popular, because it never flashes and turns out to be strangled, lost the democratic spirit of the tastes of rich customers. But it was precisely in the late period of creativity, the Hale reaches the top of skill and creates the deepest works. Coloring his paintings becomes almost monochrome. This is usually dark, black clothes, with a white collar and cuffs, and a dark olive color background. The laconic picturesque palette is built, however, on the finest gradations.

Two years before death, in 1664, Khala again returns to the group portrait. He writes two portraits - regents and recent shelter for the elderly, in one of which he himself found a shelter at the end of life. In the portrait of Regent, there is no spirit of the partnership of the previous compositions, the models are separated, powerless, they have turbid views, the devastation is written on their faces. In the gloomy color (black, gray and white) special tension makes a pinkish-red spot of the fabric on the knee of one of the regents. So, on the ninth dozen years, the patient, a lonely and poor artist creates its most dramatic and most sophisticated work on the skill.

V. Hedd. Breakfast with black pie. Dresden, Gallery

The art of Hals was of great importance for his time, it had an impact on the development of not only the portrait, but also a household genre, landscape, still life.

The landscape genre of Holland XVII century is particularly interesting. This is not nature at all, a certain overall picture of the universe, and the national, it is the Dutch landscape that we learn in modern Holland: famous windmills, deserted dunes, channels with sliding on them boats in summer and with skaters - in winter. Air is saturated with moisture. The gray sky occupies a great place in compositions. This is exactly as depicting Holland Jan Wang Goyen (1596-1656) and Salomon Van Reydal (1600 / 1603-1670).

The blooming of landscape painting in the Dutch school refers to the middle of the XVII century. The largest master of realistic landscape was Jacob Van Reydal (1628 / 29-1682), an artist inexhaustible fantasy. His works are usually filled with deep drama, whether it depicts forests ("Forest swamp"), landscapes with waterfalls ("Waterfall") or a romantic landscape with a cemetery ("Jewish cemetery"). Nature at the flight appears in the dynamics, in the eternal update. Even the simplest motives of nature are acquired by the artist's brush monumental character. The flight is peculiar to combine careful issuance with large life integrity, with the synthetic image.

P. de Hakh. Courtyard. London, National Gallery

Only the sea scenery (Marina) was engaged in Yang Portsellis (about 1584-1632). Next to realistic, purely dutch landscape existed at this time and another direction: Italian nature landscapes, lively by mythological characters, figures of people and animals.

In close connection with the Dutch landscape there is an animal genre. The famous Motive of Albert Cape - Cows for Water Tools ("Sunset on the River", "Cows on the Bank of the Creek"). Paul Potter, in addition to general plans, loves to portray one or more animals close-up on the background of the landscape ("Dog on the chain").

Brilliant development reaches still life. Dutch still life is unlike Flemish modest in size and motifs of an intimate character. Peter Clas (about 1597-1661), Bill Hed (1594-1680 / 82) most often depict the so-called breakfast: dishes with a ham or a pie on a relatively modestly served table. In the skillful layout, objects are shown so that the inner life of things is felt (no wonder the Dutch called the still life of Stilliven - "quiet life", and not "Nature Morte" - "Dead nature." True, as Vernozamechenko "Silent life" is a later poetic translation. In the language of the XVII century, this meant a "fixed model", which more corresponds to the practical surma and the business approach of the Dutch of the time). The flavor is restrained and sophisticated (Hed. "Breakfast with Omar", 1648; Clas. "Still-life with a candle", 1627).

Vermer Delftsky. Girl head. Fragment. Hague, Mauritshais

With a change in the life of a Dutch society in the second half of the XVII century, with a gradual increase in the desire of the bourgeoisie to aristocratic and the loss of the former democratism, the nature of still lifes changes. "Breakfasts" Head are replaced by luxurious "desserts" of Kalfa. Marble tables, carpeted tablecloths, silver cups, vessels made of pearl shells, crystal glasses come to replace the simple utensils. Kalf reaches striking virtuosity in the transmission of the texture of peaches, grapes, crystal surfaces. The single tone of still lifes the former period is replaced by a rich gradation of the most exquisite colorful shades.

Dutch still life is one of the artistic implements of the most important topic of Dutch art - the topics of the private life of an ordinary person. This topic fully received its embodiment in the genre picture. In the 20-30s of the XVII century. The Dutch has created a special type of small small-picure picture. 40-60s - the flourishing of painting glorifying the calm Burgers of Holland, measured daily existence. But even in the circle of France Khals, where Adrian Brower, Flemish painter, was formed, a clear interest in the topics from the peasant life was formed. Adrian Van Odete (1610-1685) depicts at first the shadow side of the life of the peasantry ("Fight"). Since the 40s, in his work, satirical notes are increasingly replaced by humorous ("in a rustic zucchka", 1660). Sometimes these small paintings are painted with a big lyrical feeling. By right, his "painter in the workshop" (1663) is considered to be a masterpiece of painting (1663), in which the artist glorifies creative labor without resorting to a declaration or to the patter.

But the main theme of the "Small Dutch" is still not peasant, but Burgershi life. This is usually images without any exciting fabul. In the pictures of this genre as if nothing happens. Woman reads a letter, cavalier and lady musice. Or they just met and between them the first feeling is born, but it is only scheduled, the viewer is granted the right to build guesses.

The most entertaining storyteller in the paintings of this kind was Jan Stan (1626-1679) ("Fucks", "Playing Trick-Tric"). Slowed rhythm of life, the order of the day routine, some monotony of existence perfectly reports Gabriel Metshu (1629-1667, "Breakfast", "Patient and Doctor"),

Even more craftsmanship reached this Gerard Terbor (1617-1681). He began with the most democratic plots ("grinder"), but with a change in the tastes of the Dutch burgherness, he moved to models more aristocratic and had a great success here.

The special poetry of "Small Dutch" acquires the interior. The life of the Dutch proceeded mainly in the house. Peter de Stooche (1629-1689) became a real singer (1629-1689). His rooms with a semi-open window, with abandoned lacquer shoes or left broken, often depicted without a human figure, but the person here is invisibly present, between the interior and people there is always a connection. When he depicts people, then deliberately emphasizes some frozen rhythm, depicts life as if the troubled, as motionless, like the things themselves ("Mistress and the servant", "courtyard").

Rembrandt. Anatomy of Dr. Tulpa. Hague, Mauritshais

The new stage of genre painting begins in the 50s and is associated with the so-called Delft school, with the name of artists such as Karel Fabrichius, Emmanuel de Witte and Yang Vermer, known in the history of art as a Vermer Delft (1632-1675). The Vermer was one of those artists who predetermined many of the coloristic searches of the XIX century, paved in many ways the road for the impressionists, although the picture of the verser seems to be not original. These are the same images of the frozen burgher life: reading a letter, consequent cavalier and lady, servants engaged in unaccompliant farm, Amsterdam or Delft species. The early picture of the Vermer "Sumy" (1656) is unusually (for "small Dutch") is large in size, monumental in shape, sounding in color of large local stains: red cavalier clothing, yellow dress and white girlfriend.

Later, the Vermer will refuse large sizes and will write the same small canvases that were taken in genre painting of that time. But these are uncomplicated by the picture of the picture: "Girl, reading a letter", "Cavalier and lady at the speake", "officer and laughing girl", etc., are full of mental unability, silence and peace. The main advantages of the artist-in the transmission of light and air. It combines a wide brush with a small smear, coordinates light and color. Dissolving items in a light-air environment, the ability to create this illusion first of all determined the recognition and fame of the verser is at the Sixix. Later, the version of the Leer has become more fused, smooth, built on gentle combinations of blue, yellow, blue, combined by amazing pearl, even pearl-gray ("girl's head").

The Vermer did something that no one did in the XVII century: he wrote landscapes from nature ("Stretch", "Type of Delft"). They can be called the first samples of plenary painting. Mature, classic in its simplicity, the art of the verser was of great importance for future eras.

The top of the Dutch realism, the result of the picturesque achievements of the Dutch culture of the XVII century is the work of Rembrandt. But the importance of Rembrandt, as any ingenious artist, goes beyond only Dutch art and Dutch school.

Harmens Wang Rhine Rembrandt (1606-1669) was born in Leiden, in the family of a rather wealthy owner of the mill, and after the Latin school he studied at Leiden University, but left him for painting first from a little-known local master, and then at the Amsterdam artist Peter Lastman .

The training period was short, and soon Rembrandt leaves for his hometown to their own painting in his own workshop. Therefore, 1625-1632 are usually called the Leiden period of his creativity. This is the time of the formation of the artist, the greatest hobby of His Caravaggio, the Master of the Master during this period was still dry, and the interpretation of the plots is often melodramatic. This is the period when it first turns to the etch.

In 1632, Rembrandt leaves for Amsterdam, the center of artistic culture of Holland, who, naturally, attracted a young artist. The 30s - the time of the highest glory, the path to which was discovered for painting a large custom-made picture of 1632 G.-group portrait, known as the "Anatomy of Dr. Tulpa", or "Anatomy Lesson". In Rembrandt canvas, people are combined with each other, all are represented in natural poses, their attention is drawn to the main acting person -Odtor Tulpa, which demonstrates the muscle structure from the "cranked" corpse. As a true Dutchman, Rembrandt is not afraid of realistic details, like a big artist, he knows how to avoid naturalism. In 1634, Rembrandt marries a girl from a rich family - Saskiy Van Eileborh - and from this pore gets into Patrician circles. The happiest period of his life begins. He becomes a famous and fashionable artist. His house attracts the best representatives of the Aristocracy of the Spirit and the rich customers, he has a big workshop, where his numerous disciples are successfully working. The considerable legacy of Saskovia and his own work give material freedom.

Whole this period is romantic. The painter, as it were, specially strives in his work to get away from the dim burgher everyday life and writes himself and Saskovia in luxurious outfits, in fantastic clothes and heads, creating spectacular compositions, expressing in complex turns, poses, movements, various states in which the common - joy prevails Genesis. This mood is expressed in the same self-portrait of the Louvras Assembly of 1634 and in the portrait of Sasquia from the museum in the Kassel (the same year), as well as in the Hermitage image of Sasquia in the image of the flora. But, perhaps, the brightest of the world of Rembrandt of these years reports the famous "self-portrait with Sasquia on his knees" (about 1636). Frankly joy of life, lying is permeated by all the canvas. These feelings are transferred to the innocent expression of the shiny face of the artist himself who has achieved as if all earthly goods; all entourage, from rich clothes to a solemnly raised crystal glass in hand; The rhythm of plastic masses, the richness of color nuances, a black and white modeling, which will become the main of the expressive drugs in Rembrandt painting. Enchanting, fabulous world ... Baroque language is closest to the expression of a raised mood. And Rembrandt during this period is largely influenced by Italian Baroque.

In difficult persons, the characterians of the picture of 1635 "Sacrifice of Abraham" appear in front of us. From the body of Isaac, prostrate in the foreground and expressing the full helplessness of the victim, the view of the viewer draws to the depth - to the figure of the elder Abraham and the messenger from the clouds of God - Angel. The composition is highly dynamic, built by all Baroque rules. But in the picture there is something that distinguishes in it by the Rembrandt nature of creativity: the penetration of the mental state of Abraham, who did not have time to feel the joy of getting rid of the terrible victim, nor thanks, and only fatigue and bewilderment. The richest possibilities of Rembrandt psychologist declare themselves in this picture quite obviously.

In the same 19 years, Rembrandt first seriously begins to engage in graphics, first of all. The heritage of Rembrandt Chart, who left both the works of engraving and unique drawings, no less significant than picturesque. The etchings of Rembrandt are mostly biblical and evangelical plots, but in the figure, as a truly Dutch artist, he often refers to the genre. True, Rembrandt's talent is that any genre work begins to sound under his hand as a philosophical generalization.

At the turn of the early period of artist's creativity and his creative maturity, one of the most famous his picturesque works, known as the "Night Watch" (1642), is a group portrait of a rifle company Captain Banning Coca.

But a group portrait is only a formal name of the work arising from the desire of the customer. Rembrandt departed from the usual composition of the group portrait of a pirushki, during which the "representation" of each portrayed. He expanded the framework of the genre, representing the historical picture rather: along the alarm, the Coca Banning Square protrudes. Some are calm, confident, others are excited in anticipation of the upcoming, but all the expression of the total energy, the patriotic rise, the celebration of the Civil Spirit.

The image of people coming out from under some arches on bright sunlight, full of echoes of the heroic era of the Netherlands revolution, the time of the triumphs of the Republican Holland. Group portrait under the brush Rembrandt abrasion into the heroic image of the era and society.

But this mood itself was alien to the Burger Holland of the middle of the century, did not meet the tastes of customers, and the picturesque techniques were contrary to generally accepted. The spectacular, undoubtedly somewhat theatrical, highly free composition, as already mentioned, did not intend to submit each of the customers. Many people are just badly "read" in this sharp lighting, in these contrasts of thick shadows and bright sunlight, which comes out of the detachment (in the XIX century. The picture has already darkened that it was considered a picture of the night scene, hence her wrong name. Shadow, The captain of the captain laying from the figure on the bright clothes of Lieutenant, proves that it is not a night, and the day).

Inappropriate and ridiculous seemed to the viewer, the appearance of outsiders in this scene, especially a little girl in a golden-yellow dress, firing in the crowd of militant men. Everything here caused bewilderment and annoyance of the public, and it can be said that the conflict of the artist and society begins with this picture and deepens. With the death of Saskiy, in the same year, 1642 there is a natural gap of Rembrandt with his alien to him by Patrician circles.

The 40-50s is the time of creative maturity. Not only the external life of Rembrandt changed, he changed first of all he himself. This is the time of the formation of his creative system, from which a lot will go into the past and in which other, invaluable qualities will be gained. It often refers to the same works to remake them in a new way. So it was, for example, with Danay, which he wrote back in 1636 already and then it was expressed in this way the main thing: the sensual beginning, pagan, to some extent "Tizianovskoye" was only part of the total in the expression of complex spiritual experiences, a single spiritual impulse. An expression of vital truth, bright individuality of the physical warehouse, came to change the classic, beautiful, but also abstract in his beauty. This ugly body was transferred extremely realistic. But Rembrandt did not suit the external truth. Turning to the picture in the 40s, the artist strengthened the emotional state. He rewrote the central part with the heroine and the maid. Given the new gesture of the raised hand, he informed her greater emotion, expression of joy, hope, call. The manner of writing has changed. In the untouched parts, the painting of cold tones, the form is carefully worked out; In the rewritten, warm, golden brown predominate, the letter is bold, free. The light plays a huge role: the light stream is like gaining a figure of Danai, it is all shining with love and happiness, this light is perceived as an expression of human feeling.

In the 40-50s, Rembrandt skill is growing steadily. He chooses for the interpretation the most lyrical, poetic parties of human being, then the human, which is extremely, successfully: maternal love, compassion. His sacred writing gives him the greatest material, and from it scene of the life of the Holy Family, the plots from Tovia. There are no external effects in the works of this period. Rembrandt depicts simple life, ordinary people, as in the "Holy Family" canvas: only angels descending into the twilight of poor housing, remind us that this is not an ordinary family. Mother's hand gesture, folding the canopy to look at the sleeping child, concentrate in the figure of Joseph - everything is deeply thoughtful. The simplicity of life and the appearance of people does not ground the topic. Rembrandt can see the daily life of life not small and ordinary, but deep and increasing. Peaceful silence of labor life, the holiness of motherhood does from this canvase. A huge role in Rembrandt's paintings is played by the light of its artistic structure. The flavor is dominated by a tonal relationship, in which Rembrandt loves to introduce strong spots of pure color. In the "Holy Family", the red blanket on the cradle serves as a combining stain.

A large place in the works of Rembrandt takes the landscape, both picturesque and graphic (etching and drawing). In the image of the real corners of the country, he knows how to climb over the ordinary ("Landscape with a mill").

Last 16 years, the most tragic years of Life Rembrandt; He is ruined, has no orders, he does not have his own home, he lost all close, favorite people, and even students betray him. But these years are full of amazing on the strength of creative activity, as a result of which scenic images are created, exceptional characteristics of characters and spirituality, works are deeply philosophical and high ethical. In these pictures of Rembrandt, everything is cleaned of the transient, random. The details are minimized, carefully thought out and meaningful gestures, poses, head slopes. The figures are enlarged, close to the front plane of the canvas. Even the small works of Rembrandt these years create the impression of extraordinary greatness and true monumentality. The main expressive means are not lines and masses, but light and color. The composition is largely built on equilibrium color sound. In the flavor, the shades of red and brown are dominated from the inside.

Color acquires soundness and intensity. It would be better to say about late Rembrandt that his color "light wave", because in his canvas, the light and color are one, its paints seem to be emitted. This complex interaction of color and light is not an end in itself, it creates a certain emotional environment and the psychological characteristic of the image.

Portraits of Late Rembrandt are very different from portraits of 30 and even 40s. These extremely simple (waist or generics) images of people close to the artist in their indoor, is always a figurative expression of a multifaceted human personality, affecting the ability of the master to transfer unsubstantial, elusive mental movements.

Rembrandt knew how to create a portrait-biography; Highlighting only face and hands, he expressed a whole story of life ("Portrait of an old man in red", about 1654). But the highest subtleties of Rembrandt features reached in autoports that came to us about a hundred and on which the infinite variety of psychological aspects, a variety of Rembrandt characteristics, is perfectly traced. After the festive portraits of the 1930s, another interpretation of the image appears before us; Full of high dignity and extraordinary simplicity of a person in the heyday of forces in the portrait from the Vienna Assembly of 1652; These features will be predominant with time, as well as the expression of the strength of the spirit and creative power (portrait of 1660).

The final in the history of the group portrait was the image of Rembrandt elders of the Sukchikovskiki shop - the so-called "Sindics" (1662), where remarmed Rembrandt created lively and at the same time different human types, but most importantly, managed to convey the feeling of the spiritual union, mutual understanding and relationships of people united One thing and tasks that did not succeed even Halsa.

During the years of maturity (mainly in the 50s), Rembrandt created his best etchings. As an etching, he does not know equal in global art. Extremely complicates and enriched his etching technique. To the etching, he adds the equipment "Dry Needle", in different ways paint in print during printing, sometimes makes changes to the board after receiving the first penetrations, which is why many etchings are known in several states. But in all of them, images have a deep philosophical meaning; They narrate the secrets of being, about the tragedy of human life. And one more feature of the etchings of Rembrandt this period: they expressed sympathy with suffering, disadvantaged, indestructible feeling of the artist himself to justice and good.

In the schedule of Rembrandt, the democracy of his worldview was fully manifested ("Blind Tovit", "Removing from the Cross", "position in the coffin", "worship of shepherds", "three cross", 1653 and 1660).

He is engaged in a lot of drawing. Rembrandt left behind 2000 drawings. These are etudes from nature, sketches for paintings and preparation for the etchings. Technically brilliant, immaculate drawings of Rembrandt demonstrate its usual evolution: from workout in detail and composite complexity to astounding laconism and classically casual majestic simplicity.

The epilogue of Rembrandt's creativity can be considered his famous picture of the "Prodigal Son" (about 1668-1669), in which the ethical height and picturesque artist's skills were manifested with the greatest completeness. The plot of the biblical parable about the blessing son, after many wandering ones who returned to the father's house, attracted Rembrandt before, as they say one of his early etchings and several drawings. In this group, in a figure of a broken young man who fallen on his bright heads and having mastered his hands on his shaved head - the ultimate tension of feelings, spiritual shock, the happiness of return and gaining, bottomless parental love, but also bitterness of disappointment, losses, humiliations, shame and repentance. This inhumanity makes the scene understandable to different people of all time and tells her immortality. Colorist unity here is especially striking. From orange-red tones of the background - this is all a single picturesque stream, perceived as an expression of a single feeling.

Rembrandt had a huge effect on art. It was not in the Holland his pores of the painter who would not have experienced the impact of the Great Artist. He had many students. They learned the Rembrandtsky lighting system, but Rembrandt comprehension of the human person, naturally could not assimilate. Therefore, some of them did not go further to the teacher's external imitation, and most changed him, going to the position of Academism and imitating fashionable to Flemis, and then the French.

In the last quarter of the XVII century. The decline of the Dutch scenic school begins, the loss of its national identity, and from the beginning of the XVIII century, the end of the Great Epoch of Dutch Realism comes.

Holland. 17th century. The country is experiencing an unprecedented flourishing. The so-called "golden age". At the end of the 16th century, several provinces of the country achieved independence from Spain.

Now the simplystan Netherlands went to their way. And Catholic Flanders (the current Belgium) under the wing of Spain - its own.

In independent Holland, religious painting almost no one needed. The Protestant Church did not approve the luxury of the decoration. But this circumstance "played on the hand" of painting secular.

Love for this kind of art woke up literally every resident of the new country. The Dutchman wanted to see his own life in the pictures. And the artists willingly walked to meet them.

Never have ever depicted the surrounding reality. Ordinary people, ordinary rooms and the most ordinary breakfast of the citizen.

Realism flourished. Up until the 20th century, he will be a worthy competitor to Academism with his nymphs and Greek goddesses.

These artists call the "small" dutch. Why? The pictures were small in size, because they were created for small houses. So, almost all the pictures of Jan Vermeer in a height of no more than half a meter.

But I like another version more. In the Netherlands in the 17th century there lived and worked the great master, the "big" Dutchman. And everyone else compared to him was "small."

We are talking, of course, about Rembrandte. From him and start.

1. Rembrandt (1606-1669)

Rembrandt. Self-portrait aged 63 years. 1669 National London Gallery

Rembrandt was able to experience the broader gamut of emotions during his life. Therefore, in his early works so much fun and bravadas. And so many complex feelings - in the later.

Here he is young and disappointed in the picture "The Blind Son in Tavern." On the knees - the beloved wife Saskovia. He is a popular artist. Orders pour the river.

Rembrandt. The prodigal son in the tavern. 1635 Gallery of old masters, Dresden

But all this will disappear after some 10 years. Sasquia will die of consume. Popularity will dissolve as smoke. The big house with a unique collection will be taken for debts.

But the same Rembrandt will appear, which will remain on the century. Great feelings of heroes. Their most intimate thoughts.

2. France Hals (1583-1666)

France Hals. Self-portrait. 1650 Metropolitan Museum, New York

France Hals is one of the greatest portraits of all time. Therefore, I would also consider it to the "big" dutch.

In Holland, at that time it was customary to order group portraits. So many similar works appeared with the image of people working together: the arrows of the same guild, the doctors of one town, managing the nursing home.

In this genre, Hals allocated most of all. After all, most of these portraits were like a deck of cards. People are sitting at the table with the same expression of the face and just watch. Hals had differently.

Look at his group portrait of the "Arrow Guild of St. George.

France Hals. Arrows Guild Hild George. 1627 Museum of France Hals, Garel, Netherlands

Here you will not find a single repetition in the position or expression of the face. At the same time, there are no chaos. There are many characters, but no one seems to be superfluous. Due to the surprisingly correct placement of figures.

Yes, and in a single portrait Hals exceeded many artists. His models are natural. People from the highest society in his paintings are devoid of contrived magnifies, and model from the bottom does not look humiliated.

And his heroes are very emotional: they smile, laugh, gesturing. As, for example, it is a "gypsy" with a loose look.

France Hals. Gypsy. 1625-1630

Hals, like Rembrandt, finished life in poverty. For the same reason. His realism came against the tastes of customers. Who wanted their appearance to embellish. Hals did not go to frank flattery, and thus signed a sentence - "oblivion."

3. Gerard Terborh (1617-1681)

Gerard Terboro. Self-portrait. 1668 Royal Gallery Mauritshais, Hague, Netherlands

Terboro was a wizard of a household genre. Rich and not very burghers are slowly talking, the ladies read letters, and the pioneer is watching courting. Two or three closely arranged figures.

It was this master that worked the canons of the household genre. Which then borrowed by Yang Vermeer, Peter de Heh and many other "small" dutch.

Gerard Terboro. Glass of lemonade. 1660s. State Hermitage, St. Petersburg

"The glass of lemonade" is one of the famous works of Terborch. It can see one more advantage of the artist. Incredibly realistic image of dress fabric.

There is terboro and unusual work. What speaks of his desire to go beyond the requirements of customers.

Its "grinder" shows the life of the poorest inhabitants of Holland. We are used to seeing cozy courtyards and clean rooms in the pictures of "small" dutch. But Terboro dared to show unsightly Holland.

Gerard Terboro. Grinder. 1653-1655 Government Museums Berlin

As you understand, such works were not in demand. And they are a rare phenomenon even at Terborh.

4. Jan Vermeer (1632-1675)

Jan Vermeer. Artist workshop. 1666-1667 Museum of Art History, Vienna

What Yang Vermeer looked, it is not reliably known. It is only obvious that he portrayed himself in the painting "artist's workshop". True from the back.

Therefore, it's surprising that a new fact from the life of the master has recently become known. He is connected with his masterpiece "Delft street".

Jan Vermeer. Delft street. 1657 Government Museum in Amsterdam

It turned out that the childhood of Vermeer passed on this street. The depicted house belonged to his aunt. She raised his five children in him. Perhaps it sits on the threshold with sewing, and two of her children play on the sidewalk. Vermeer himself lived in the house opposite.

But more often he portrayed the internal situation of these houses and their inhabitants. It would seem that the plots of paintings are very simple. Here is a Miloid lady, a secured townoor, checks the work of my scales.

Jan Vermeer. Woman with weights. 1662-1663 National Art Gallery, Washington

What did Vermeer stand out among thousands of other "small" dutch?

He was an unsurpassed Light Master. In the picture "Woman with weights" light softly envelops the face of the heroine, fabric and walls. Giving an unbearable spirituality depicted.

And the compositions of the Vermeer paintings are carefully recovered. You will not find any excess details. It is enough to remove one of them, the painting "crumble", and the magic will go away.

All this was given to Vermeleu not easy. Such stunning quality required painstaking work. Total 2-3 pictures per year. As a result, the inability to feed the family. Vermeer worked as an art dealer, selling the work of other artists.

5. Peter de Heh (1629-1684)

Peter de Heh. Self-portrait. 1648-1649 Reyxmuseum, Amsterdam

Hoha often compared with Vermeer. They worked at one time, even there was a period that in one city. And in one genre - domestic. At Hoha, we also see one or two figures in the cozy Dutch courtyards or rooms.

Open doors and windows make the space of his paintings multilayer and entertaining. And the figures are inscribed in this space very harmoniously. As, for example, in his picture "The servant with a girl in the courtyard."

Peter de Heh. The maid with the girl in the courtyard. 1658 London National Gallery

Up to 20th century, Hech was valued very high. But the small works of his competitor of Vermeer are few who noticed.

But in the 20th century everything has changed. Slava Hoha Faming. However, his achievements in painting are difficult not to recognize. Few, who could competently combine the surrounding environment and people.

Peter de Heh. Players in the map in the sun room. 1658 Royal Art Assembly, London

Please note that in a modest house on the "Players in Maps" can hang a picture in a nothesive frame.

This once again talks about how among ordinary Dutch painting was popular. The paintings were decorated with each house: both the house of the rich Burger, and a modest citizen, and even a peasant.

6. Yang walls (1626-1679)

Yang walls. Self-portrait with lute. 1670s. Museum of Tissen-Bornemis, Madrid

Yang walls, perhaps, the most cheerful "small" dutchman. But loving morals. He often depicted taverns or poor houses in which there was a vice.

His main characters - walks and ladies of easy behavior. He wanted to entertain the viewer, but impuditly warned him from vicious life.

Yang walls. Kavardak. 1663 Museum of Art History, Vienna

There is a wall and more quiet work. Like, for example, the "morning toilet". But here the artist surprises the viewer too frank items. Here and traces from the gum stocking, and not an empty night pot. Yes, and somehow not at all by the way the dog lies right on the pillow.

Yang walls. Morning toilet. 1661-1665 Reyxmuseum, Amsterdam

But despite all the frivolism, the color solutions of the wall are very professional. In this, he was superior to many "small dutch". Look at how much the red stocking is perfectly combined with a blue jacket and a bright beige rug.

7. Jacobs Wang Reydal (1629-1682)

Portrait of a raisdale. Lithograph from the 19th century book.

Conquered the victory in the fight against Spain for their independence, bourgeois Holland has become the most economically developed state in Western Europe. The main Dutch city of Amsterdam decided as one of the largest shopping centers in Europe.

Together with the economy, Dutch painting is developing. Unlike other Western European countries in Holland, the baroque paintings of palaces and castles were popular - the weakness of the nobility served as an obstacle to the development of decorative art. The Calvinist Church of the Holland also did not seek to decorate their temples by painting.

Nevertheless, painting in the Netherlands flourished: artists received numerous orders from individuals. In his housing, a small picture could even have the Dutch peasants - so cheaply cost these creations of artists.

In the XVII century In the little Holland worked over two thousand artists. They put the production of paintings on the stream, made canvas with whole parties and passed their sellers. Almost every wizard performed from two to five songs.

Often the production of paintings were ahead of demand, so to feed, artists had to simultaneously engage in other work. Such famous masters like Ya. Walls, M. Gobbehama, Ya. Van Goyen and many others, at the same time were employees, gardeners, containers of restaurants.

Usually painters specialized on one particular topic. For example, H. Aberkp wrote winter species, E. Van der Poul portrayed night fires, Tereborh and Metasy - household scenes, P. Clas and V. K. Hedd - still lifes breakfast.

Very often, artists collectively worked on the same picture: one painted the sky, the other is grass and trees, the third - human figures. The most successful works that have been successful among the public has copied and served as a model to create countless options.

Although the art of talented painters and was subordinate to commercial purposes, masters usually managed to avoid false. Most of these canvases are distinguished by the realism, integrity and clarity of the composition, freshness of flavoring and excellent performance technique.

Wide distribution in Dutch painting received a portrait genre. Various organizations (rifle society, groups of representatives of the corporation and trading shops) who contributed to the emergence of a group public portrait were played a major role in the country's life.

The long-term struggle with the Spanish colonizers aggravated the sense of national self-consciousness, so in painting, in addition to realism, an image of the characteristic national traits was especially welcomed. Artists wrote the sea and ships, cattle, flowers. In addition to the portrait, such genres developed as landscape, still life. There was a religious painting, but it did not have an element of mysticism; Biblical plots presented
The artist is more like domestic scenes.

France Hals.

France Hals was born about 1581 in Antwerp in the Tea family. In the youthful age, he arrived in Harlem, where he lived almost low to death (in 1616 he visited Antwerp, and in the mid-1630 - Amsterdam). About the life of the chals knows a little. In 1610, he entered the guild of St. Luki, and in 1616 - to the chamber of ritizers (amateur actors).

Very quickly, Hals became one of the most famous portraitists of Harlem. In the XV-XVI centuries. In the painting of the Netherlands there was a tradition to write portraits of only representatives of the ruling circles, famous people and artists. The art of Hals is deeply democratic: on his portraits we can see the aristocrat, a wealthy citizen, artisan and even a person from the lowest. The artist does not try to idealize those depicted, the main thing for him is their naturalness and uniqueness. His venomazb holds itself as relatively, as the representatives of the lower layers of society, which in the khals paintings are depicted by cheerful people who are not deprived of self-esteem.

A large place in the work of the painter is a group portrait. The best works of this genre were portraits of rifle company officers St. George (1627) and rifle company St. Adriana (1633). Each character in the paintings has its bright individuality, and at the same time, these works are characterized by integrity.

Hals also wrote custom portraits, on which wealthy burghers and their families are posted in casual poses ("Portrait of Isaac Massa", 1626; "Portrait of Hatheysen", 1637). Hals Images are alive and dynamic, it seems that people on portraits talk to an invisible interlocutor or turn to the viewer.

Representatives of the People's Environment on the portraits of Hals are distinguished. In images of street boys, fishermen, musicians, visitors of the Kabakov felt sympathy and respect for the author. Wonderful of his "Gypsy". Surprisingly alive seems to be a smiling young woman, the sore view of which is directed at the invisible viewers of the interlocutor. Hals does not idealize his model, but the image of a cheerful, disheveled gypsy delights with his perky charm.

Very often portraits of the chals include the elements of the genre scene. These are the images of children singing or playing on musical instruments ("singing boys", 1624-1625). In the same spirit, the famous "Mallet Babbe" was fulfilled (the beginning of the 1630s), which submitted to the Kharchevni famous in Harlem, which visitors for their eyes were called the Harly Witch. The artist almost grotesque depicted a woman with a huge beer mug and owls on his shoulder.

In the 1640s. There are signs of fracture in the country. Only a few decades passed after the victory of the revolution, and the bourgeoisie has already ceased to be a progressive class based on democratic traditions. The truthfulness of the Hals painting no longer attracts rich customers who want to see themselves on portraits better than they really are. But Hals did not refuse realism, and his popularity fell sharply. In painting of this period, notes of sorrow and disappointment appear ("Portrait of a man in a broad-breasted hat"). It is stricter and calmly becomes his palette.

At the age of 84, Hals creates two masterpieces: group portraits of rewagers (trustees) and nursing shelter (1664). These recent work of the Dutch masters are distinguished by emotionality and bright individuality of images. From the images of rents - old people and the old woman - itifies sadness and death. This feeling emphasizes and color, weathered in black, gray and white tones.

Hals died in 1666 in deep poverty. His truthful, life-affirming art had a great influence on many Dutch artists.

Rembrandt.

In the 1640-1660s. Painting Holland worried flourishing. The most significant artist of this time was Rembrandt.

Rembrandt Harmens Van Rhine was born in 1606 in Leiden. His father was a tricky miller. Parents dreamed of good education for the Son and identified it in the Latin school, after the end of which Rembrandt entered Leiden University. But the young man attracted art. He left the university and began to learn from the painter Yakov Svannenburg. Three years later, a young artist went to Amsterdam, where he began to take lessons from Peter Lastman.

In 1624, Rembrandt returned to Leiden. Here he, together with the painter, Jan Laven took a workshop. The artist works a lot from nature, writes not only in the workshop, but also on the street and at the city bazaar.

At the end of the 1620s. Rembrandt won popularity among residents Leiden. He had many orders and the first student - Gerard Dow, who later became a rather famous painter.

The early paintings of Rembrandt are characterized by the thoroughness of the composition, the bona fide of execution. At the same time, it is characterized by some stiffness ("the torment of St. Sebastian", 1625).

In 1631, Rembrandt settled in Amsterdam. Glory about him very quickly spread around the city, and orders fell on the painter. Personal life of Rembrandt was successful: in 1634 he married Sasquia Wang Eilenburg, a girl from the famous bourgeois family. The marriage brought the artist a significant state that provided him with creative independence and allowed to take up the collection of works of art and antiques.

Rembrandt enjoyed happiness in the society of his beloved wife, which he depicted many times on portraits. Often Saskovia served as a model and for paintings with the most diverse themes ("Flora", 1634; "Self-portrait with sasquia on his knees", approx. 1639).

Rembrandt's creativity is distinguished by variety during this period, he writes historical, mythological and religious compositions, portraits, household scenes, landscapes, still lifes, paintings with animal images. But the main object of his attention is a person. Not only in portraits, but also in other works, the artist seeks to convey the nature and inner world of his heroes.

The wonderful master of the portrait genre, only in the 1630s. Rembrandt performed more than sixty registered portraits. The main thing for the painter is not an external similarity with the model, and the depth of the inner world, the strength of spiritual movements and experiences. With the delight, the group portrait of the "Anatomy of Doctor Tulp" (1632) was met by contemporaries. The artist contributed to the traditional composition of the classic group portrait of the change, placing the figure not in a row, as was customary, but freely. Such a construction gave the image of the liveliness and naturalness.

At the end of the 1630s. Rembrandt became the most famous master in Holland. To this period, his masterpiece belongs - the famous "Dana" (1636), the skill of execution of which exceeds everything that was created by contemporaries
artist. It strikes the perfection of its composition and the richness of the color gamut set down in golden shades. It seems that in this work there is nothing superfluous, every item is carefully thought out by the author. With the help of a free and live smear, the master transmits the lightness of the bedspread, the folds of heavy curtains and draperies. The flexible plastic of a young woman lying on the bed, gently golden shades of the body, illuminated by soft light. Although it does not shit perfect beauty, her image admires the viewer with lively charm and freshness.

In the 1630s. The artist works a lot and in the etching. It is attracted by household motifs ("The seller of rat poison", 1632). Elements of the genreiness are inherent and works with biblical themes ("The Return of the Prodigal Son", 1636). One of the best etchings of this period is "death of Mary" (1639), emotional and feeling a feeling of deep grief. The complexity of the composition and the monumental value of the images is different and a wonderful product "Christ, healing patients" (t. N. "List in a hundred guilders" - this name speaks of the cost of the work).

In the 1640s. Rembrandt becomes the most famous and most highly paid painter Amsterdam. He is ordered portraits, compositions for the Palace of the Dutch Statgalter in the Hague. Many novice artists seek to study in his workshop. Glory about the art of Rembrandt goes beyond the limits of Holland. Several paintings of the famous master is stored in the palace of the English king Charles I.

Rembrandt talent manifested itself in its realistic and expressive still lifes ("Bull Truck") and landscapes ("Landscape with a mill", OK. 1650). Thin lyricism is inherent in unauthorizing Dutch landscapes, affecting the viewer with its almost tangible reality.

The death of his beloved wife in 1642 removed Rembrandt from its noble relatives. The artist stopped communicating and with his familiar from the aristocratic society. Changes in the life of the masters were reflected on his painting, which becomes deeper and focused. If Rembrandt's early works are distinguished by calm and smooth set up, now the notes of anxiety and doubt begged in his paintings. The palette is changed in which red and golden shades dominate.

Vivid expressiveness is distinguished by the canvas "David and Jonafan" (1642, Hermitage, St. Petersburg), performed in golden-pink and golden blue tones.

All these new features in Prambrandt painting did not meet understanding of contemporaries. The discontent caused a large monumental composition "Night Watch" (1642). This title of the picture received in the XIX century. In fact, the action takes place not at night, and during the day, with sunlight, which confirms the nature of the shadows.

Over time, paints darkened, and only the restoration carried out in 1946-1947, showed that the color gamut of this work was once a much lighter.

The picture shows the arrows of the company Captain Banning Coca. The customer expects to see the traditional parade portrait (scene of the feast or representation by the viewer commander of his subordinates). Rembrandt also created
Poico-historical canvas depicting the performance of shooters on the orders of the captain. Characters are excited and dynamic; The commander gives orders, a bannamers raises the banner, the drummer beats in the drum, arrows charge weapons. It is not clear that the little girl with a rooster at the belt rushes.

During these years, Hendercine Stalffels appears in Rembrandt's life, first the maid, and then the wife, who became the faithful girlfriend and the assistant. The artist is still working a lot. He creates his famous "Holy Family" (1645), in which the religious topic is interpreted as genre. Along with the biblical compositions, the painter performs realistic landscapes with the images of the village ("Winter View", 1646). His portraits of this period are distinguished by the desire to show the individual features of the models.

In the 1650s. The number of orders is significantly reduced. Rembrandt is experiencing large material difficulties. He faces full ruin, because the debt is still not paid, associated with the purchase of the house while the first wife of Saskovia. In 1656, the artist was declared insolvent, and his collection of works of art and all property were sold out with auction. Rembrandt family had to move to the poor Jewish quarter of Amsterdam.

Despite all the adversities, the talent of the Great Painter does not dry. But now the criterion of his skill is completely different. In later works of Rembrandt, colorful strokes sharply appear on the surface of the canvas. Now the colors in his paintings are not only for the transfer of the appearance of the heroes and the image of the interior - it is a color takes the semantic workload of the work. So, the feeling of tense drama in the picture "Assore, Aman and Esphyr" (1660) is created by means of a complex tonal gamma and special light effects.

Decreased orders living in deep poverty, Rembrandt never ceases to write. He creates expressive and spiritual portraits, models for which relatives and friends serve ("Portrait of the wife of the artist's brother", 1654; "Portrait of an old man in red", 1652-1654; "Portrait of the Titus Son for reading", 1657; "Portrait of Hendrikier Stalffels windows ", approx. 1659).

The son of Titus, who finally received the condition of his deceased mother, tries to protect his father from material deprivities and create him the conditions for quiet work. But misfortunes continue to pursue the artist: in 1663 he dies with Hendrik, and after a few years he followed Titus.

It is in this tragic time that an old lonely artist creates his masterpieces, characterized by monumental and spirituality (David and Uriah, 1665-1666; "The Return of the Prodigal Son", approx. 1668-1669).

Rembrandt died in 1669, all forgotten. Only in the XVIII century. His art was finally understood and appreciated.

In 1640-1660s. The leading in the Dutch painting was a household genre. Pictures depicting the most common moments of reality, amazingly poetic and lyric. The main object of attention of the painters is a man and the world around him. Most genre compositions are distinguished by calm narration and lack of drama. They tell about home care of the hostess of the house (buying provisions, care for children, handicraft classes), about the entertainment of the Dutch Burger (game of cards, reception of guests, concerts). Artists depict everything that happens in the house of the wealthy citizen, bypassing the public side of the human life.

Genribists used very popularity: Dow, whose paintings were sold at a very high price, A. Wang Odete, writing the scenes of the peasant life ("Rural Concert"), Ya. Walls, favorite topics of which were scenes of fun and holidays ("Merry Society" ), G. Terbor, whose graceful painting represented the life of a rich burgher family ("Glass of Lemonada"), Metsu with his frequency narration ("Sick Child"), P. de Hookh, created contemplative-lyrical canvases ("Mistress and maid ").

To expand the framework of the household genre sought to K. Fabrichius, who lived a short life (he died in Delft in the explosion of the powder warehouse). One of his best works is the "Resurrection of Lazarus" (approx. 1643), distinguished by drama and almost monumental scope. His portraits and self-portraits, putting the artist in one row with F. Khals and Rembrandt.

The fate of E. de Fabrichius, a talented master of household scene and works with the image of church interiors ("Market in Porto", "Interior with a woman at Clavsin"). The artist did not seek to indulge in the tastes of the bourgeois public, so his works that did not have success in contemporaries were sold for pennies. Often Fabrichius was forced to give them for debts to homeowners. In the winter at night, 1692, a seventieth-year-old artist who was elected by the owner of the house hanged himself on the railing of the bridge. Such a fate was characteristic of many Dutch painters who do not want to abandon realistic traditions in favor of the public.

Jan Vermer Delftsky

A bright representative of genre Dutch painting is the Yang Vermer, called at the place of birth and activity of Delftsky. Painter was born in 1623 in the family of a merchant paintings and silk. A little known about the life of the verser. Perhaps his teacher was K. Fabrichius. In 1653, the artist became a member of the Guild of St. Luki and married the daughter of a rich citizen Katerina Kozalus. In Delft, he enjoyed respect and glory, lived in a large house located on a market square.

Vermer worked on his paintings very slowly and thoroughly, carefully writing out every detail. Painting could not provide the artist's family to a soulless existence, although his canvas and enjoyed great success. Probably, therefore the Vermer and began to trade with the paintings, continuing the case of his father.

Already in the first works of the verser, a combination of realism and some share of idealization of images ("Diana with nymphs", "Christ and Mary" - both before 1656) appears. The following work is a large-burning fabric "Sumani" (1656), written on the plot used by many painters, is distinguished by the originality of execution. The usual household scene by the artist acquires almost monumental significance. The picture stands out among other works with similar subjects with its bold flavor, weathered in pure yellow, red, black and white colors, and bright expressive images.

In the future, the Vermer appealed to the traditional for Dutch painting chamber compositions. Like other Dutch masters, he depicts events taking place in rich burgome houses. The favorite image of the artist is a girl reading a letter reading or fitting necklaces. His canvas represent infertility domestic scenes: the maid gives his mistress, the cavalier brings a lady a glass of wine. But these pictures, simple on the composition, are struck by whole, harmony and lyricism, their images attract naturalness and relaxed poetry.

In the second half of the 1650s. The artist created the most wonderful works. A warm feeling was marked deeply lyrical "sleeping girl", "glass of wine", "girl with a letter." Many Dutch painters of this time in their paintings were portrayed by the work of the servants, but only the Vermer, the image of a woman from the people has the features of genuine beauty and greatness ("Maulus with a jug of milk").

Vermer is a real virtuoso in the transfer of the essence of the world of things with the help of fine funds. Still lifes are filled with great skill in his paintings. Surprisingly beautiful and naturally looks like a dish with apples and plums, standing on a patterned tablecloth table in the canvas "girl with a letter."

In the painting "Maulus with a jug of milk" admires its freshness bread and milk, a thick jet of a jug.

Light plays a big role in the works of the verm. It fills the space of the canvas, creating the impression of extraordinary airiness; Models forms and penetrates in paint, forcing them to glow from the inside. It is due to such a number of light and air a special emotional highlightness of most verses works is created.

Wonderful mastery of the painter manifested itself in landscape painting. A small corner of the city shrouded in a wet atmosphere of a cloudy day is reproduced clear and simple on the "Oilnake" composition (approx. 1658). Clean and fresh appears the city in the picture "View of Delft" (between 1658 and 1660). Through gentle-silvery clouds make their way the sun's rays, creating a lot of bright highlights on the surface of the water. A sonorous flavor with its subtle color transitions gives the picture expressiveness and harmony.

In the 1660s The painting of the verser becomes more refined and elegant. The palette is also changing in which cold colorful shades are now dominated ("Girl with Pearl"). The main heroes of the webs are becoming surrounded by the rich ladies and Cavalers ("Love Letter", approx. 1670).

Jan Vermer Delftsky. The maid with a jug of milk. Between 1657 and 1660.
Jan Vermer Delftsky. Painter workshop. OK. 1665

In the last period of the life of the verser, it becomes superficial and somewhat contrived ("Allegory of Faith"), and the palette loses saturation and sonicity. But during these years, the individual works of the artist are striking the former expressive force. Such is his "painter workshop" (1665), in which the Vermer depicted himself at work, and the paintings by Astronomer and Geographer, who captured scientists.

The fate of the verser, like many other Dutch masters, is tragic. At the end of life, the painful artist who lost most of the previous customers was forced to transport his big family from the old house in a cheaper home. Over the past five years he has not written a single picture. A painter died in 1675. His art was forgotten for a long time, and only in the middle of the XIX century. The Vermer was appreciated and put in one row with such Dutch masters as Rembrandt and F. Hals.

The seventeenth century was in Europe "the golden age of painting." In Italy, Holland, Flanders, Spain and in France there are significant art schools. Among them, the art of Holland occupies a special place. Seven Northern Netherlands provinces, uniting around the largest of them, Holland, won the Spaniards. The historical fates of these lands were determined after the conclusion of Utrecht Unia in 1579, which gave the legislative authority to general states, declared violence, provided special political and economic conditions to the rich provinces of Holland and Zealand. These were laid the foundations of the future republic, which received state status in 1609 after the conclusion of the truce with Spain.

The connected provinces became the first in the world by the bourgeois state, the power of the staff was nominal in nature, representatives of the Orange house were primarily the commander. Their courtyard in the Hague was not distinguished by a special pomp and did not have a noticeable impact on the development of culture in the country. Rule in Holland Burgertism is an enterprising, calculating, practical. It invests capital trading and shipbuilding, swallowed the path to the distant countries of Asia and America and founded the colony there. "This handful of people," wrote the head of the Royal Council of France, Cardinal Richelieu, who own the land, consisting of waters and grazers, supplies European peoples most of the goods they need. "

Calvinism became the dominant religion in the country, the most radical direction in the reformation movement of the XVI-XVII centuries. The Calvinist Church was "republican" character. Its main features was the doctrine of absolute predestination, the apology of entrepreneurship and professional success, the requirement of worldly asceticism - calculating bourgeois leaning. Relative vermopebility in the initial period of the Republic of the Republic has created a favorable atmosphere for scientific and philosophical creativity. The country became famous for his naturalists, put forward famous lawyers and historians. The famous philosopher Rene Descartes was emigrated from France, the materialistic views of Spinoza have developed. The most modest was the contribution of Holland to European literature, there were no large architects and sculptors here. The main progress fell out by the painters of a small northern country. She created a bright national picturesque school, which is its topics, a picturesque manner, ideological aspirations was a special chapter in the art of the XVII century, left an indelible mark in world artistic culture.

The Dutch Church expelled the magnificent cult from his temples that did not have sacred images, the Catholic churches were few. Works of art were mainly intended for public secular buildings and private housing, their subjects, although reflected the Protestant morality, had a secular character. Pictures on biblical and antique plots were perceived as historical. True vocation of Dutch artists became a glass painting. Artists were a lot. They rarely wrote to order, most of the paintings were sold in the markets. "Fair in Rotterdam," said the English traveler of the XVII century, - was overloaded with paintings (especially landscapes and genre scenes) ... All houses are stuck with paintings, and the Dutch sold them with a big lancher. "

By 20 years of the XVII century, the formation of genres of Dutch painting was mainly completed. Specialization of artists by genre is characteristic of Holland. At the beginning of the XVII century, the portrait genre was most popular in Holland, the national theme sounded widely in the Dutch landscape, in the 1630s there was also a peasant genre. One of the most characteristic genres of Dutch painting was still life. By the middle of the XVII century, a dominant position in Dutch painting took a household genre.

The addition of Dutch art occurred in several centers, which, competing with each other, at different times they broke down forward, they retreated, at first it was Harlem, from the thirties, after moving there Rembrandt, began to acquire his leading position Amsterdam, then followed University Leiden and a calm aristocratic deft. The mansion was Hague, where the courtyard of the Tatganger was.

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The Golden Age of Dutch Painting is one of the most outstanding epochs in the history of all world painting. The golden century of Dutch painting is considered XVII century. It was at this time that the most talented artists and painters worked out their immortal works. Their paintings are still considered unsurpassed masterpieces that are stored in the famous museums of the world and are considered an invaluable heritage.

At the beginning 17th century In the Netherlands, quite primitive art flourished, which was substantiated by the landlined tastes and preferences of rich and powerful people. As a result of political, geopolitical and religious changes, Dutch art sharply changed. If, before that, the artists tried to indulge in the Dutch burers, depicting their lives and life, devoid of any high and poetic language, and also worked for the Church, which ordered artists of a fairly primitive genre with long-bent plots, the beginning of the XVII century became a real breakthrough. In Holland, the domination of Protestants reigned, who practically stopped ordering paintings from artists on religious topics. Holland became independent of Spain and self-affirmed at a generalist phyuum. Artists from their usual earlier moved to the image of household scenes, portraits, landscapes, still lifes and so on. Here, in a new field, the artists of the golden century would seemed to be new breathing and the real genius of art began to appear.

Dutch artists of the 17th century introduced realism in painting. Stunning on the component, according to the realism, in depth and unusual paintings began to enjoy a colossal success. The demand for painting has increased dramatically. As a result, more and more new artists began to appear, which surprisingly rapidly developed the foundations of painting, developed new techniques, styles and genres. Some of the most famous artists of the golden century were:, Jan Vermeer, Cornelis Cornef, Mattias Stom, Peter Bruegel Senior, Esayas Van de Velda, France Hals, Andrian Bruver, Cornelis de Man, Antonis Wang Dyk and many others.

Pictures of Dutch painters

Cornelis de Man - Manufactory for the processing of whale fat

Cornelis Cost - Fun in Park

Lyudolf Bucheizen - Dock Ost-India Campaign in Amsterdam

Peter Bruegel Senior - Alchemist Catastrophe