Royal art gallery. Dutch painting
Dutch painting Its occurrence and initial time to such an extent merge with the first stages of the development of painting Flemish, that the newest historians of art consider the one and the other for all the time until the end of the XVI century. Inseparable, under one common name "Netherlands School". Both of them, making up a branch of the Rhine branch of it. Painting, the main representatives of which are Wilhelm Cologne and Stefan Lochner, consider the Van Eykov brothers with their own experts; Both go to one direction for a long time, weighing the same ideals, they pursue the same tasks, develop the same technique, so the artists of Holland do not differ from their flank and Brabant counterparts. It continues at all times of dominion over the country at first Burgundy, and then the Austrian house - until the cruel revolution comes out, ending the full celebration of the Gol. People over the oppressing Spaniards. From this era, each of the two branches of the Netherlands art begins to move separately, although sometimes it happens to come into a very close contact between sobody. G. Painting at once takes the original, quite national character and quickly reaches a bright and abundant heyday. The reasons for this phenomenon like which is hardly extended throughout the history of art, lies in topographic, religious, political and social circumstances. In this "lowland country" (HOL LAND), consisting of a bog, islands and peninsulas that are constantly being arranged by the sea and threatened by its raids, the population, only overthrow it from themselves alien IHO, I had to create Syznis all, starting with the physical conditions of the soil and Ending conditions moral and intellectual, because everything was destroyed by the precedingment of the struggle for independence. Thanks to its enterprise, practical meaning and persistent work, the Dutch managed to turn the swamps into fruitless Niva and luxurious suggestions, to win from the sea. Extensive land spaces, acquire material well-being and external political importance. The achievement of these results contributed a lot to the federal-republican form of government and the principle of freedom of thought and religious beliefs improved in the country. As if miraculously, everywhere, in all areas of human labor, suddenly hot activity in a new, peculiar, purely folk spirit, by the way and in the field of art. From the sectors of the latter on the soil of Holland, it was contemplated predominantly one - painting, which took here in the works of many more or less talented artists, which appeared almost simultaneously, the direction is very versatile and at the same time completely different from the direction of art in other countries. The main feature characterizing these artists is the love of nature, the desire to reproduce it in all its simplicity and truth, without the slightest gloves, without summing up under any conditions of the prejudice ideal. The second distinctive feature of the Gol. Painters make up a subtle feeling of color and an understanding of how strong, the charming impression can be produced, in addition to the content of the picture, is just true and the powerful transmission of colorful relations caused by the action of light rays, proximity or range of distances. At the best representatives of the city of painting, this feeling of paints and blacks are developed to such an extent that the light with its innumerable and diverse nuances plays in the picture, one can say, the role of the main person and reports the highest interest in the most unborn plot, the most reputable forms and images. Then it should be noted that most of the Gol. Artists are not started in distortion for the material for their creativity, but is content with what finds around them, in the native nature and in the life of their people. Typical features of any distinguished compatriots, physiognomy of simple Dutch and Dutch, noisy fun in common holidays, peasant porcisses, scenes of rustic life or intimate life of citizens, native dunes, priests and unbarrous plains intersectable by canals, herds, grazing on fat meadows, huts, We arrived at the edges of beech or oak groves, villages on the shores of rivers, lakes and articles, cities with their clean houses, lifting bridges and high spiers of churches and town hall, harbor, cluttered by ships filled with silver or golden pairs of the sky - all this, under the brush of the Goll . Masters, imbued with love for the Fatherland and National Pride, turns into pictures, full air, light and attractiveness. Even in cases where other of these masters resort to the topics of the Bible, ancient history and mythology, then, without taking care of the observance of archaeological loyalty, they carry the action on Wednesday of the Dutch, surround it with a Dutch environment. True, next to the crowded crowd of such patriot artists, the phalanx of other painters seeking inspiration outside the Fatherland, in the classic country of art, Italy; However, in their work, they break the features that are pronounced their nationality. Finally, as a feature of the Goll. Painters, you can point out their renunciation of artistic traditions. In vain, it would be necessary to look for the strict continuity of the well-known aesthetic principles and technical rules not only in the sense of academic style, but in the sense of the learners of the character of their teachers: with the exception, perhaps, alone, Rembrandt's students, more or less closely following their footsteps The brilliant mentor, almost all the painters of Holland, barely only passed their student years, and sometimes already during these years, began to work in their own way, according to the one where their individual inclination was involved and what the direct observation of nature was taught. Therefore Gol. Artists can not be distributed to schools, just as we do about artists of Italy or Spain; It is difficult to even draw up some of them strictly defined groups, and the most expression " G.. school of Painting"It should be understood only in a conditional sense, as a denoting set of tribal masters, but not a valid school. Meanwhile, in all the main cities of Holland, organized societies of artists who seem to have to influence their message Activities of one general direction. However, such societies guild sv. Luki.if you contributed to this, then in a very moderate degree. These were not an academy, the keeper of famous artistic traditions, but free corporations, similar to other handicraft and industrial guilds, are not much different from them with respect to the device and those who had the goal of mutual support of their members, the protection of their rights, care for their old age, the care of their fate Widow and orphans. Any local painter who satisfy the requirements of moral cencing was taken to the guild on a preliminary certificate in his abilities and knowledge or on the basis of the fame acquired by him; The visiting artists were allowed in the guild as temporary members for their stay in this city. Believes belonging to the guild to discuss under the chairmanship of the deans of their shared affairs or for mutual exchange of thoughts; But in these meetings there was nothing, which would be like a preaching of a certain artistic direction and would have beaten to the triggering of the originality of any of the members. The specified features of G. Painting are noticeable in its initial time - at the time when it developed inseparably with the Flemish school. By calling her, as well as this last, was then mainly the decoration of churches with religious paintings, palaces, town hall and noble homes - portraits of governmental and aristocrats. Unfortunately, the works of the primitive G. Painters reached us only in very limited quantities, since most of them died in that vague, when the Reformation devastated Catholic temples, abolished monasteries and abbey, incited "Icons" (Beeldstormers) to destroy the picturesque and Sculptural sacred images, and the popular uprising destroyed portraits of tyranov hated by it everywhere. Many of the artists preceding the revolutions, we only know by name; Others have the opportunity to judge only one-two samples of their work. So, relative to the oldest of the Gol. Painters, Alberta Wang Ouwaterta, there are no positive data, except for the information that he was a contemporary Van Eyk and worked in Harlem; It does not exist reliable paintings. The student of his Garytien Van Sint-Yang is known only by two strata-stairs to the Vienna Gallery ("St. Coffin" and "Legend of Bones of St. John"), written by them for the Harlem Cathedral. The fog, clouding from us the initial era of the school, begins to dissipate with the appearance on the scene of the battles dirk, called a haircut († 1475), originally from Harlem, but who worked in Leuven and because by many to the Flemish school (the best works are two pictures " The wrong court of Emperor Ottone, "is located in the Brussels Museum), as well as Cornelis Engelbrechtesten (1468-1553), the main merit of which is that he was a teacher of the famous Luyja Leidensky (1494-1533). This last, artist versatile, hardworking and high-level, knew how no one before him, to reproduce everything that came across to his eyes, and therefore can be considered a real father of the Netherlands genre, although he had to write predominantly religious paintings and portraits. In the works of his contemporary Yana Mostart (about 1470-1556), the desire for naturalism is connected with a shade of gothic legend, the heat of religious feeling with the care of external elegance. In addition to these outstanding masters, for the initial era of the city, they deserve to be mentioned: Heronimus Van Aken, nicknamed I. De Bosch (approx. 1462-1516), with its complex, intricate and other times extremely strange compositions posted the beginning of satirical household painting; Yang Mandein († 1520), famous in Harlem with its images of hellish and jester scenes; Peter Arsen († 1516), called for its high growth "Long Peter" (Lange Pier), David Ioris (1501-56), a skilled painter on the glass, fascinated by the anabaptic womb and imagined himself with the Prophet David and the Son of God, Jacob Welts (1469 ? - 1535?), Jacob Cornellis (1480? - Later 1533) and his son Dirk Jacobs (two pictures of the latter, depicting shooting societies, are available in imp. Hermitage). About half the XVI table. In the medium of the Netherlands painters there is a desire to get rid of the shortcomings of domestic art - its gothic angularity and dryness - the study of Italian artists of the Renaissance and the connection of their manners with the best traditions of their own school. This aspiration is already looking at the works of the aforementioned Mostart; But the main distributor of the new movement should be considered Yang Schorel (1495-1562), who lived in Italy and after the school, then in Utrecht, from which a number of artists infected with the desire to deal with Dutch Rafael and Michelangelo came out. According to his footsteps, Martin Van Van, nicknamed Gamskerki (1498-1574), Henrik Golcyus (1558-1616), Peter Montford, Proble. Blockproof (1532-83), Cornelis. Harlem (1562-1638) and others already belonging to the next period of the school, what, for example, Abraham Blumart (1564-1651), Gerard Gontlesk (1592-1662), went for the Alps to penetrate the perfections of the corneses of Italian painting, but fell For the most part, under the influence of representatives of the decline of this painting started at that time, and returned to the Mañaryist Máris, imagining that the whole of the art is to carry the muscles, in the stripping of the angles and the fracture conditional colors. However, the people's passion for the Italians, often sacrificed in the transitional era of painting to the extreme, brought a kind of benefit, as he contributed to this painting the best, more scientist drawing and decrease more freely and boldly dispose of the composition. Together with the Stagniderland tradition and unlimited love for nature, Italianism was made by one of the elements, of which the original, highly developed art of the blooming era. The offensive of this era, as we have already said, should be dedicated to the beginning of the XVII Art., When Holland, won independence, healed new life. The sharp transformation of the oppressed and poor country in a politically important, well-established and rich state union was accompanied by an equally sharp coup in its art. From all sides, almost at least, there are wonderful artists who caused the rise of the National Spirit and developing in society the need for their work in society. New - Delft, Utrecht, Dortrecht, Hague, Amsterdam, etc. are added to the initial artistic centers, Garleos and Leiden. Everywhere, the old tasks of painting are developed in a new way under the influence of the changed requirements and views, and its new industries flourish, the rigids of which were barely Notes in the previously preceding. Reformation expelled religious paintings from churches; There was no need to decorate the palaces and the necessary chambers with images of ancient gods and heroes, and therefore historical painting, satisfying the tastes of the rich bourgeoisie, dropped idealism and turned to the exact reproduction of reality: the long-lasting events she began to interpret how the events of the day that took place in Holland and in Features engaged in a portrait, perpetuating the features of the people of that time in it, then in single figures, in the extensive, multifiant compositions depicting small-scale societies (Schutterstuke), who played such a prominent role in the fight for the liberation of the country, - the rules of its charitable institutions (RegenNestuke) , shop marriage and members of various corporations. If we decided to talk about all the gifted portrait of the flowering era of the Golle. art, then one list of their names with an indication of the best of their work would take a lot of lines; Therefore, we are limited to mention only about those artists who are especially issued from the general range. Such: Michil Mireview (1567-1641), his student Paulus Morels (1571-1638), Thomas de Caerizer (1596-1667) Yang Van Rawesein (1572? - 1657), the predecessors of the three greatest portrait of the Holland - Clavius \u200b\u200bof Rembrandt Rembrandt Wang Raina ( 1606-69), an unmatched draftsman who had amazing art modeling the figures in the light, but a little cold in character and flavor of the Bartolomeyushus van der Gelsta (1611 or 1612-70) and the figuing of his brush of the Senior Goloss (1581-1666). Of these, the name of Rembrandt's name shines especially brightly in history, first who used honors from their contemporaries, then they are forgotten, little appreciated by offspring and only in the current century erected throughout justice to the degree of world genius. In his characteristic artistic personality, both in focus, all the best qualities of the G. Painting and its influence affected all its birth - in the portrait, historical paintings, household scenes and landscape. Between the students and followers of Rembrandt acquired the greatest fame: Ferdinand Pain (1616-80), Giatert Flink (1615-60), Herbrand Wang Den Ecut (1621-74), Nicholas MAS (1632-93), Art De Helder (1645-1727 ), Jacob Backer (1608 or 1609-51), Jan Victors (1621-74), Karel Fabrichius (ok. 1620-54), Salomon and Philips Koning (1609-56, 1619-88), Peter de Gbebe, Villem de Porter († Later 1645), Gerard Dow (1613-75) and Samuel Van Gogstraten (1626-78). In addition to these artists, the list of the best portraits and historical painters of the period under consideration to name Yana Livenza (1607-30), Comrade Rembrandt by study at P. Lastman, Abraham Van Tepel (1622-72) and Peter Nogon (1612-91), who apparently, under the influence of in. Galsta, Heohannes Impaid, Impaid Johannes (1597-1662), Yana and Jacob de Braév († 1664, † 1697), Cornelis Wang Ceileylene (1594-1664) and Nicolas de Gelta Slakada (1614-69). Household painting, the first experiments of which were still in the old Netherlands school, found themselves in the XVII century. Especially grateful soil in Protestant, free, bourgeois, satisfied with Holland. Small pictures, inesentially representing the morals and life of different classes of local society, seemed to sufficient people more enforceable than large works of serious painting, and on a par with landscapes - more handy for decorating cozy private dwellings. The whole hordee artists satisfy the requirement for such pictures, without thinking for a long time over the choice for them, but in conscientiously reproducing everything that does not actually show the love of his own, native, then good-natured humor, accurately describing the positions and faces and face Sophisticated in the skill of technology. Then someone occupy a common life, the scenes of peasant happiness and grief, a booze in zucchini and harchers, gathering in front of roadside hotels, rural holidays, games and skating on ice frozen rivers and canals, etc., others take the content for their works From the more elegant circle - they write elegant ladies in their intimate atmosphere, leaving for them the cavaliers, household owners who give orders to the maids, salon exercises in music and singing, centes of golden youth in pleasure houses, etc. In the long row of the artists of the first category first Adrian and Izac in. Ostay (1610-85, 1621-49), Adrian Browver (1605 or 1606-38), Jan Stan (about 1626-79), Cornelis Bega (1620-64), Richard Blanbürg (1650-1702), P. V. LAR, nicknamed in Italy Bambecio (1590-1658), Cornelis Duzart (1660-1704) Egbert Van der Bulch (1621-64), Cornelis Drochslot (1586-1666), Egbert in. Gamskerk (1610-80), Henrik Rockes, called Zorg (1621-82), Clas Molyar (earlier than 1630-76), Yang Minse Molyar (about 1610-68), Cornelis Saflevlen (1606-81) and Nos. Dr. From an equally significant number of painters that reproduced by life of the middle and higher, in general, sufficient, class, enjoy the fame of Gerard Terborh (1617-81), Gerard Dow (1613-75), Gabriel Metsu (1630-67), Peter de Gogh ( 1630-66), Kaspar Nesser (1639-84), France in. Miris Senior (1635-81), Eglon Van der Nar (1643-1703), Gottfried Schalken (1643-1706), Yang Van der Mayor Delft (1632-73), Johannes Victor (1650-93), Quiring Brequal AP († 1668 ). Jacob OXTERVELT († 1670), Dirk Gals (1589-1656), Anthony and Parametes Parameysa (1601-73, 1607-38) and others. To the category of genre, you can rank artists who wrote scenes of military life, the idleness of soldiers in the guard, campgrounds , cavalry clashes and entire battles, horses amaway, as well as sprinkled with battle scenes scenes of falcon and dog hunting. The chief representative of this industry painting is the famous and extraordinarily prolific Philips of Hovverman (1619-68). In addition to him, her brother of this master, Peter (1623-82), Yang Asselin (1610-52), who will soon meet in a series of landscape players, the aforementioned palamesa, Jacob Icek (1600 - later than 1660), Henrik Versheuring (1627- 90), Dirk Stop (1610-80), Dirk MAC (1656-1717), etc. In many of these artists, the landscape plays the same important role as human figures; But in parallel with them, the mass of the painters, putting him by the main thing or an exceptional task. In general, the Dutch holders belong to the inalienable right to be proud of the fact that their fatherland is homeland not only the newest genre, but also the landscape in the sense, as it is understood in our days. In fact, in other countries, for example. In Italy and France, art was not very interested in inanimate nature, did not find a kind of life in it, nor special beauty: the painter introduced a landscape in his paintings only as a side element, as a scenery, among which the episodes of human drama or comedy are played, and therefore subdued him The conditions of the scene, coming up with the pictorial lines favorable lines and stains, but not copying nature, does not penetrate it impress. In the same way, he "composed" it is nature and in those rare cases when he tried to write a purely landscape picture. The Dutch was the first to comprehend that even in an inanimate nature breathes his life, everything is attractive, everything is capable of causing the thought and excite the movement of the heart. And it was quite natural, because the Dutch, so to speak, created their hands around them with their own hands, treated and admired her how her father values \u200b\u200band admire his own brainchild. In addition, this nature, despite the modesty of its forms and paints, represented such colorars as there were the Dutch, abundant material for the development of lighting motifs and an air perspective due to the climatic conditions of the country - its impregnated with steam air, mitigating the outlines of objects producing gradation of the tones on various The plans and covering the distance of a silver or gold mist chymo, as well as the changeability of the species caused by the time of the year, the hour of the day and the state of the weather. Among the landscape players of the blooming period of the Gol. Schools that were interpreted by their domestic nature, especially respected by: Yang. Goyen (1595-1656), who, together with Ezaias Van de Veld (approx. 1590-1630) and Peter Molen Stars. (1595-1661), considered the founder of the Gol. landscape; Then the student of this master, Salomon in. Ryuzdal († 1623), Simon de Vlieger (1601-59), Yang Weinants (approx. 1600 - later than 1679), amateur effects of better lighting art in. D. Nar (1603-77), Poetic Jacob in. Ryuzdal (1628 or 1629-82), Meert Gobbema (1638-1709) and Cornelis Decker († 1678). Among the Dutch, there were also quite a few landscape players who were stuck in the journey and reproducing the motives of alien nature, which, however, did not prevent them from preserving them in their painting. Albert c. Everdingen (1621-75) depicted the types of Norway; Jan Bot (1610-52), Dirk in. Bergen († Later 1690) and Jan Lingelbach (1623-74) - Italy; Jan c. d. Mayor Jr. (1656-1705), Herman Sakes (1610-85) and Jan Griffiff (1656-1720) - Rhine; Jan Gakkart (1629-99?) - Germany and Switzerland; Cornelis Polenhenburg (1586-1667) and the group of his followers wrote landscapes to the motives of Italian nature, with the ruins of antique buildings, bathing nymphs and scenes of the imaginary Arcadia. In a special discharge, the masters can be distinguished, which in their paintings combined the landscape with the image of animals, giving advantage of the first, then the second or the intercourse of both parts with the same attention. Famous in a number of such painters of rural idyll - Paulus Potter (1625-54); In addition to him, adrian c are counted here. Velda (1635 or 1636-72), Albert Cape (1620-91), Gondius Abraham († 1692) and numerous artists who addressed the themes preferably or exclusively to Italy, what are the: Villem Romain († later 1693), Adam Peynaker (1622-73), Jan-Baptist Veniks (1621-60), Yang Asselin, Clas Bercher (1620-83), Karel Duzrden (1622-78), Thomas Wake (1616? -77) Frederic de Musheron (1633 or 1634 -86) and others. The painting of architectural species is closely adjacent to the landscape, which Dutch artists began to engage as an independent industry of art only in half of the XVII century. Some of those worked since then on this part were sophisticated in the image of urban streets and areas with their buildings; Such, between other, less significant, Johannes Bareresthane (1622-66), IB and Gerrit Verk-Gade (1630-93, 1638-98), Yang in. D. Gayden (1647-1712) and Jacob in. Yulft village (1627-88). Others, among which Peter Sanrenian († 1666), Dirk in. Dellen (1605-71), Emmanuel de Witte (1616 or 1617-92), wrote internal species of churches and palaces. The sea had much importance in the life of Holland, that her art could not treat him otherwise, as with the greatest attention. Many of her artists engaged in the landscape, genre and even a portrait, taking off at the time of their ordinary plots, were made by marinists, and if we were attended to list all the painters of Dutchsk. Schools depicting a calm or raging sea, ships, clogged by ships of the harbor, sea battles, etc., would have turned out to be a very long list, which would be included in the names of Ya. Goyena, S. de Wiliger, S. and Ya. Ryuisdalea, A. Cape and the others already mentioned in the previous lines. Limited on the same indication on those for whom the painting of marine species amounted to a specialty, we must call the Willem in. de Velte Senior (1611 or 1612-93), his famous son V. in. De Velda Jr. (1633-1707), Lyudolf Bucmaisena (1631-1708), Yana. De Kappell († 1679) and Julius Parcelis († later, 1634). Finally, the realistic direction of the Dutch school was the reason for the fact that it was formed and developed a genus of painting, which in other schools was not cultivated as a special, independent industry, namely painting flowers, fruits, vegetables, livestock, kitchen accessories, dining area etc. - in the word, what is customary to be called "dead nature" (Nature Morte, Stilleben). In this area between the goal. Artists of the flowering era acquired the greatest fame of Jan-Davids de Gem (1606-83), his son Cornelis (1631-95), Abraham Mignon (1640-79), Melchior de Gundecuiter (1636-95), Maria Osterweik (1630-93) , Villem in. Alsti (1626-83), Willem Ging (1594 - 1678), Calph Villem (1621 or 1622-93) and Yang Waniks (1640-1719). The brilliant period of Dutch painting has long stretched - only one century. With the beginning of the XVIII century. It comes its decline, not because the coast of Zeerze cease to produce congenital talents, but because in Gol. Society more and more weakens national self-consciousness, the National Spirit evaporates and the French tastes and the views of the sprayed era of Louis XIV are evaporated. In art, this cultural turn is expressed by the oblivion of the artists of those major principles, which depended on the originality of the painters of the preceding generations, and the appeal to the aesthetic principles listed from the neighboring country. Instead of a direct attitude towards nature, love for domestic and sincerity, the domination of biased theories, conventionity, imitation of Poussin, Lebré, CL. Lorrane and others. French school cables. The main distributor of this regrettable direction was settled in Amsterdam Flemandes Gerard de Lesshes (1641-1711), the artist is very capable and for its time educated, who had a huge influence on contemporaries and the nearest offspring as its manner pseudo-historical paintings and works by his pen, between which One - "Great Book of Painting" ("T GROOT SCHILDERBOEC) - For fifty years served as a code for young artists. The famous adrian in the school has also contributed to. De Verff (1659-1722), enlightened painting with cold, as if escaped from ivory figures, with dim, powerless flavor seemed to have once the riding perfection. Between the followers of this artist, he was fame as historical painters Henrik in. Limborg (1680-1758) and Philip V.-Dajk (1669-1729), called "small in. -Oneke ". From other painters of the era under consideration, endowed with undoubted godding, but infected D The yum of time should be celebrated Willem and France. Mirisa Junior (1662-1747, 1689-1763), Nicholas Victor (1673-1746), Netzer Konstantin (1668-1722), Izaca de Musheron (1670-1744) and Karel de Mora (1656-1738). Cornelis Cornef (1697-1750), predominantly caricaturist, nicknamed Holland gave some glitter of the dying school. Gogard, Portreetist Jan Quinchard (1688-1772), Decorative-historical painter Jacob de Vit (1695-1754) and painters of the dead nature Yang in. Geijum (1682-1749) and Rachel flights (1664-1750). A foreign effect on the twentieth years of the XIX century is alien to the twenties of the XIX century, while more or less reflect those modifications in it, which art was taken in France, starting with the pair of the time of the Sun king and ending with Pseudoclassicism David. When the style of the latter has talked his age and everywhere in the west of Europe, instead of passionate, the romantic desire, mastered as poetry and figurative arts, the Dutch, like other peoples, turned to their old days, and, consequently, to the glorious past of her Painting. The desire to inform her again the brilliance as she shone in the XVII century, began to animate the newest artists and returned them to the principles of old national masters - to strict observation of nature and inesential, sincere attitude towards the presenters. At the same time, they did not try to completely eliminate foreign influence, but, going to study in Paris or Düsseldorf and other art centers of Germany, exported home from there only acquaintance with the successes of modern technology. Thanks to all this, the revived Dutch school has again received the original, pretty physiognomy and moves in our days along the way leading to further progress. For many of their newest leaders, she can safely oppose the best painters of the XIX century in other countries. Historical painting in the close value of the word is cultivated in it, as in the old days, very moderately and does not have outstanding representatives; But according to the part of the historic genre, Holland can be proud of several significant newest masters, what are: Jacob Square (1793-1861), Ari Lamme (r. 1812), Peter in. SKENDel (1806-70), David Blis (born 1821), Herman Ten-Kate (1822-1891) and who deserted Alma Tadema's highly awesome Lawrence in England (r. 1836). In the household genre, which also included in the circle of activity of these artists (with the exception of the Alma Tadema), can be indicated by a number of beautiful painters, at the head of which Idef R. 1824) and Christoffel Bisshop (R. 1828); Besides them, you are worthy to be named Michil Verseg (1756-1843), Elkhanon Vervar (r. 1826), Teresa Schwartz (r. 1852) and Valley Mus (r. 1857). Especially rich in the newest Gol. Painting with landscape players who worry and worrying in a variety of birth, then with carefully ended, then with the extensive techniques of impressionists, but loyal and poetic interpreters of their native nature. Andreas Schelfgoot (1787-1870), Bartain Kukkuk (1803-62), Johannes Wilders (1811-90), Willem Rulofs (p. 1822), Gendrich in. de Sanda-Bike Mesen (r. 1826), Anton Mauwe (1838-88), Jacob Maris (r. 1837), Vodwejak apol (r. 1850) and MN. Dr. straight heirs Ya. V. The village of Heyden and E. De Witte was the painters of promising species Yang Vergeiden (1778-1846), Bartolomeyus in. Kazy (1790-1888), Salomon Vervar (1813-76), Cornelis Springer (1817-91), Johannes BosBe (1817-91), Johannes Weissengruch (1822-1880) and others. Between the newest marinists of the Netherlands Palm Championship belongs to Iiog. Schotel (1787-1838), Ari player (r. 1809), Herman Kukkuk (1815-82) and Henry Mesca (p. 1831). Finally, in the painting of animals, the great art of Wurles Vershur (1812-74) and Johan Gus (p. 1832) were observed. Cf. Van Eyden u. Van Der Willigen, "Geschiedenis der Vaderlandische Schilderkunst, Seedert de Helft des 18-De Eeuw" (4 volumes, 1866) A. Woltman U. K. WOERMANN, "GESCHICHTE DER MALEREI" (2nd and 3rd Toma, 1882-1883); Waagen, "Handbuch der Deutschen und Niderländischen Maleschulen" (1862); Bode, "Studien Zur Geschichte Der Holländischen MaleRei" (1883); Havard, "La PEINTURE HOLLANDAISE" (1880); E. FROMENTIN, "LES MAîTRES D" AUTREFOOIS. Belgique, Hollande "(1876); A. Bredius," Die Meisterwerke Des Rijksmuseum Zu Amsterdam "(1890); P. P. Semenov," Etudes on the history of the Netherlands painting on the basis of its samples in St. Petersburg "(a special application to magazine "Vestn. Elegant. Arts", 1885-90). A. Somov.
Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - S.-PB.: Brockhauses-Efron. 1890-1907 .
The time of birth of the Dutch school is considered the first years of the XVII century. This school belongs to the Great Painting Schools and is an independent and independent school with unique and unique features and identity.
It has a large historical explanation - a new course in art and a new state on the map of Europe arose simultaneously.
Holland until the XVII century did not stand out abundance of national artists. Maybe therefore, in the future, in this country you can count such a large number of artists, and it is the Dutch artists. While this country was one state with Flanders, mostly in Flanders were intensively created and developed original scenic flows. In Flanders, the outstanding painters Wang Eyk, Memling, Rogyr Van der Wayden, who were not like in Holland. Only separate bursts of genius in painting can be noted at the beginning of the XVI century, this is an artist and engraver Lutensky, which is a follower of the Bruges school. But Luca Leiden did not create any school. The same can be said about the painter of the rake of Boetse from Harlem, whose creations almost do not stand out against the background of the style and manners of the origins of the Flemish school, about artists Mostarte, River and Chemiskerka, which, despite all their importance, are not individual talents, their originality characterizing Country
Then the Italian impact spread on all who worked with the help of a brush - from Antwerp to Harlem. It was one of the reasons that the borders were erased, the schools were mixed, the artists lost their national face. There was not even a single student Yana Spell. The last, most famous, greatest portraitist, who, together with Rembrandt, is the pride of Holland, an artist, gifted by a powerful talent, perfectly educated, diverse in style, courageous and flexible by nature, a cosmopolitan, lost all traces of its origin and even his name - Antonis Moro , (He was the official painter of the Spanish King) died after 1588.
The remaining painters almost ceased to be in the spirit of their creativity by the Dutch, they lacked organized and abilities to update the National School. These were representatives of Dutch mannerism: Engraver Hendrik Gollyius, Cornelis Harelis, imitated by Michelangelo, Abraham Blumart, follower Korredjo, Michil Misewelt, a good portrait artist, skillful, accurate, concise, a little cold, modern for its time, but not national. It is interesting that only he did not give up Italian influence, subordinate to himself most of the manifestations in the painting of the Netherlands of that time.
By the end of the XVI century, when portraitists have already created a school, other artists began to appear and form. In the second half years of the XVI century, a large number of painters were born who became a phenomenon in painting, this is almost the awakening of the Dutch National School. A large variety of talents leads to a variety of different directions and ways to develop painting. Artists experience themselves in all genres, in various colors: some work in a light manner, others - in the dark (the influence of the Italian artist Caravaggio affected here). Light - Handswear are committed, dark - Colorists. The search for pictorial manners begin, the lighting lights are being developed. The palette becomes more relaxed and free, lines and plastic shown - too. Rembrandt's direct predecessors appear - his teacher Jan Pace and Peter Lastman. It becomes more free and genre methods - historicity is not so obligatory as before. A special, deeply national and almost historical genre is created - group portraits designed for public spaces - urban councils, corporations, shops and communities. At this event, the most perfect in form, the XVI ends and the XVII century begins.
It is only the beginning, the germ of the school, the school itself is not yet. There are many talented artists. Among them are skillful masters, several large painters. Morels, Yang Ravenhein, Lastman, France Hals, Polenburg, Van Schotn, Wang de Venne, Thomas De Caisser, Honthorst, Cape Senior, Finally, Esayyas Vel De Veld and Van Goyen - all of them were born at the end of the XVI century. There are artists in this list, the names of which preserved the story and those who represented only certain attempts to achieve skill and those who became teachers and predecessors of future masters.
In the development of Dutch painting it was a critical moment. In case of unstable political equilibrium, everything depended only on the case. In Flanders, where a similar awakening was observed, on the contrary, confidence and stability was already felt, which was not yet in Holland. In Flanders, artists who have formed or were close to it. Political and socio-historical conditions in this country were more favorable. There was a more flexible and tolerant government, tradition and society. The need for luxury generated persistent need for art. In general, there were serious reasons that Flanders continually became a great focus of art. For this, there was not enough only two things: several years of peace and master who would be the creator of the school.
In 1609, when the fate of Holland was deciding - Philip III agreed on the truce between Spain and the Netherlands - Rubens appears.
Everything depended on political or military randomness. The defeated and conquered, Holland would have to finally lose independence. Then, of course, two independent schools could not exist - in the Netherlands and in Flanders. In the country, dependent on Italian-Flemish influence, such a school and talented original artists could not develop.
In order to be born in the light of the Dutch people, and that Dutch art see the light with him, they needed a revolution, deep and victorious. It was especially important that the revolution relied on justice, the mind, the need for people to deserve what he wanted to achieve that he was decisive, convinced of his right thing, hardworking, patient, restrained, heroic, wise. All these historical features were reflected in the subsequent in the formation of the Dutch School of Painting.
The situation has developed so that the war did not ruin the Dutch, but enriched, the struggle for independence did not exhaust strength, but strengthened and inspired. In the victory over the invaders, the people showed the same courage as in the fight against the elements, over the sea, over the flooding of lands, above the climate. What had to destroy the people was beneficial to him. Contracts signed with Spain gave Holland freedom and strengthened her position. All this led to the creation of their own art, which glorified, spiritualized and expressed the inner essence of the Dutch people.
After the contract of 1609 and the official recognition of the connected provinces immediately arrived. As if a beneficial, warm trend was touched by human souls, revived the soil, found and awakened the sprouts, already ready to dismiss. It is amazing how unexpectedly, and for what short term - no more than thirty years old - on a small space, on an ungrateful deserted soil, a wonderful pleiad of painters appeared in the harsh living conditions of life, and more than great painters.
They appeared immediately and everywhere: in Amsterdam, Dordrechte, Leiden, Delft, Utrecht, Rotterdam, Kharlem, even abroad - as it were from seeds that fell outside the field. The earliest - Jan Wang Goyen and Weinutants, born at the turn of the centuries. And then, in the interval from the beginning of the century to the end of his first third - Cape, Terbor, Brower, Rembrandt, Adrian Van Odete, Ferdinand Pain, Gerard Dow, Metsu, Venix, Wowerman, Bercher, Potter, Yang Walls, Jacob Rydal.
But on this creative juices were not exhausted. Then Peter de Heh, Hobbeme was born. The last of the great - Van der Hayden and Adrian Van de Veld were born in 1636 and 1637. At this time, Rembrandt was thirty years old. Approximately these years can be considered the time of the first heyday of the Dutch school.
Considering the historical events of that time, it is possible to imagine what the aspirations, the nature and fate of the new picturesque school should be. What could in such a country like Holland, write these artists.
The revolution, which gave the Dutch people freedom and wealth, at the same time deprived him of the fact that everywhere constitutes the life foundation of great schools. She changed beliefs, changed the habits, abolished images of both ancient and evangelical scenes, stopped creating large works - church and decorative paintings. In fact, before each artist was an alternative - to be original or not to be completely.
It was necessary to create art for the nation of the Burgers, which they would like, depicted them and corresponded to them. These were practical, not prone to dreamy, business people, with disturbed traditions and configured antihaitali. It can be said that for the Dutch people there was a simple and brave task - to create your own portrait.
Dutch painting, was and could only be an expression of appearance, faithful, accurate, similar portrait of Holland. It was a portrait of people and terrain, burgher morals, squares, streets, fields, sea and sky. The main elements of the Dutch school were a portrait, landscape, household scenes. This was this painting since the beginning of its existence before decline.
It may seem that there is nothing simpler than the opening of this ordinary art. In fact, it is impossible to imagine anything equal to him in the width and novelty.
Immediately everything has changed in the manner to understand, see and transmit: point of view, art ideal, choice of nature, style and method. Italian and Flemish painting in their best manifestations are still understandable to us, because they still enjoy, but these are already dead languages, and no one will use them anymore.
At one time, there was a habit of thinking elevated, generally, there was an art concluded in the skillful selection of objects. In their decoration, correction. It loved showing nature as it does not actually happen. All depicted to a greater or lesser extent agreed with the person of a person, depended on it and was her likeness. As a result, art was arose for which a person is located in the center, and all other images of the Universe were embodied either in human forms, or vaguely displayed as the secondary environment of a person. Creativity developed by certain schemes. Each item should have borrowed its plastic form at the same ideal. The man should have been depicted more often naked than dressed, well folded and beautiful so that he could with the corresponding greatness to play the role assigned to him.
Now the task of painting has simplified. It was necessary to give every thing or a phenomenon of its true meaning, to put a person on a fitting place, and if necessary, to do without it.
It's time to think less, carefully look at the fact that closer, watch better and write differently. Now it is the painting of the crowd, a citizen, a man of labor. It was necessary to become modest for all modest, small for a small, inconspicuous for inconspicuous, to take everything, nothing rejecting and not despising, penetrating the hidden life of things, lovingly merging with their existence, it was necessary to become attentive, curious and patient. The genius is now not to have any prejudice. Nothing does not need to be embarrassed, nor ennoble, neither expose: all this lie and useless work.
Dutch painters, creating in some corner of the northern country with water, forests, star horizons, were able to reflect the whole universe in miniature. A small country, conscientiously studied according to the tastes and instincts of the observer, turns into an inexhaustible treasury, abundant, as life itself, as rich in sensations, as the human heart is rich. The Dutch school is growing and works for a whole century.
The painters of Holland found plots and paints to meet any human inconsistencies and affections, for natur coarse and delicate, fervent and melancholic, dreamy and fun. Cloudy days are replaced by funny sunny days, the sea is calm and sparkles silver, then violently and gloomy. Many pastures with farms and many ships that are crowded off the coast. And it is almost always felt by the movement of the air over the expanses and strong winds from the North Sea, which are cumbersome clouds, bent the trees, believe the wings of the mills and drive the light and shadows. To this you need to add cities, home and street life, walking at fairs, image of various morals, the need of the poor, the horrors of winter, idleness in taverns with their tobacco smoke and beer circles. On the other hand, a secured lifestyle, conscientious work, cavalcada, afternoon rest, hunting. In addition, public life, civil ceremonies, banquets. It turned out new art, but with old, like the world, plots.
Thus, the harmonic unity of the spirit of the school appeared and the most striking variety ever occurred within one direction of art.
In general, the Dutch school is called genre. If you decompose it into the components of the elements, you can distinguish between landscape players, masters of group portrait, marinists, animalists, artists who wrote group portraits or still lifes. If you look more detailed, you can distinguish many and genre varieties - from lovers of painting to ideologues, from vitality copies before its interpreters, from conservative home travelers, from those who love and feel humor to artists who avoid comedy. Recall the Pictures of Humor Odese and the seriousness of the raisdal, the calm of the Potter and the mockery of Yana Wall, wit Wang de Veld and the sullen dream of the Great Rembrandt.
If not counting Rembrandt, which is to be considered an exceptional phenomenon, both for its country and for all time, then for all other Dutch artists, a certain style and method are characteristic. Laws for this style are sincerity, availability, naturalness, expressiveness. If you take away from Dutch art what can be called honesty, then you will stop understanding its life foundation and you will not be able to determine whether it is a moral appearance or its style. In these artists, who have earned most of the glory of shortly copyists, feel the sublime and good soul, loyalty to the truth, love for realism. All this gives them the work of the value that the things depicted on them themselves seem to have.
The beginning for this sincere style and the first result of this honest approach is the perfect drawing. Among the Dutch painters at Potter - the manifestation of genius in accurate verified measurements and the ability to trace the movement of each line.
In Holland, the sky occupies often half, and sometimes the whole picture. Therefore, it is necessary that the sky in the picture moved, attracted, fascinated us by. To felt the difference between the day, evenings and nights, to felt the heat and cold, to the viewer and Zyab, and enjoyed, and felt the need to focus. Although, probably, it is difficult to call such a drawing with the most noble of all, but try to find in the world of artists who would write the sky, like a raisdale and Van der Ner and said so much and so brilliantly. Everywhere, the Dutch is the same drawing - discreet, concise, accurate, natural and naive, skillful, and not artificial.
The palette of the Dutch is quite worthy of their drawing, hence the perfect unity of their picturesque method. Any Dutch picture is easy to find out in appearance. It is small and features its powerful strict paints. It requires a great accuracy, a solid, deep concentration to achieve a concentrated impact on the viewer. The artist must deepen in herself to enter his idea, the viewer - to his senses to comprehend the plan of the painter. It was the Dutch paintings that give the most clear idea of \u200b\u200bthis hidden and eternal process: to feel, think about and express. No in the light of the picture, more saturated, since the Dutch includes such a large content in such a small space. That is why everything accepts accurate, compressed and compacted here.
Any Dutch picture is concave, it consists of the curves described around one point, which is the embodiment of the design of the paintings and shadows located around the main light spot. A strong base that runaway and rounded angles, seeking to the center, is allotted, painted and illuminated in a circle. As a result, the picture acquires the depth, and the objects depicted on it are distinguished from the eye of the viewer. The viewer, as it were, lead from the first plan to the latter, from the frame - to the horizon. We seem to live in the picture, we move, look deep into, raise your head to measure the depths of the sky. The severity of the air perspective, the perfect match of the color and shades with the place in the space that occupies the subject.
For a more complete presentation of the Dutch painting, it would be necessary to consider in detail the elements of this current, the features of the methods, the nature of the palette, to understand why it is so poor, almost one-year and so rich in results. But all these questions, like many others, have always been the subject of the guesses of many art crops, but have never been sufficiently studied and clarified. The description of the main features of Dutch art allows you to distinguish this school from others and trace it for its origins. An expressive way illustrating this school is the picture of Adriana Wan Odesta from the Amsterdam Museum "Atelier of the artist". This plot was one of the favorite for Dutch painters. We see a careful person, a little bitched, with a prepared palette, subtle, clean brushes and transparent oil. He writes in the twilight. His face is concentrated, the hand is careful. Only, perhaps, these painters were more crosswise and knew how to laugh more careless and enjoy life, which can be concluded from the preserved images. Otherwise, how would their genius appeared in the atmosphere of professional traditions?
The basis for the Dutch school was laid by Van Goyen and Weinanuts at the beginning of the XVII century, setting some laws of painting. These laws made themselves from teachers to students, and during the whole century, Dutch painters lived them without deviating to the side.
dutch painting manherism
Introduction
1. Small Dutch
Dutch Painting School
Genre painting
4. Symbolism. Still life
Rembrandt Van Rhine
Vermeer Delftan Jan.
Conclusion
Introduction
The purpose of the test work is:
· In the development of creative potential;
· Formation of interest in art;
· Fastening and replenishing knowledge.
In the XVII century, Dutch art originated. This art is considered independent and independent, it has certain forms and features.
Until the XVII century, Holland did not have its meaningful artists in art, because He entered into the state of Flanders. However, several artists are celebrated in a given period of time. This is an artist and engraver Luca Leiden (1494-1533), painter Dirk Boauts (1415-1475), Rail Artist (1495-1562).
Gradually mixed different schools and masters lost the distinctive features of their schools, and the remaining artists of Holland cease to have the spirit of national creativity. Many different and new styles appear. Artists are trying to write paintings in all genres, looking for an individual style. Genre methods were erased: historicity is not so obligatory as before. A new genre is created - group porters.
At the beginning of the XVII century, when the fate of Holland was solved - Philip II sounded about the truce between Spain and the Netherlands. Need a revolution, political or military situation. The struggle for independence united the people. War strengthened the National Spirit. Signed agreements with Spain, gave Holland freedom. It pushed to the creation of her own and special art, expressed the essence of the Dutch.
The feature of Dutch artists was to create a real image to the smallest details - manifestation of feelings and thoughts. This is the basis of the Dutch school. It becomes realistic art, and by the middle of the XVII century reaches the vertices in all areas.
For Holland, typically separation not only for genres, but also on numerous subspecies. Some masters write scenes from life of the burghers and officers - Peter de Hookh (1495-1562), Gerard Terborh (1617-1681), Gabriel Metsu (1629-1667), the second - from peasant life - Adrian Wang Ostay (1610-1685), Third - scenes from the life of scientists and doctors - Gerrit Dow (1613-1675); Landscape drivers - Jan Portsellis (1584-1632), Simon de Vlieger (1601-1653), Forest Corners - Mainender Hobbeme (1638-1609), Master of Interior - Peter Yansense (1623-1682). Periodically, a certain genre becomes traditional in art schools. For example, Harlem painters still life to the so-called "breakfasts" - Peter Clas (1598-1661), Willle Hed (1594-1680).
Artists show the morals and customs, ethical and moral norms of human behavior. Frequently depicting family events. The landscape players and masters of still life transmit light in the open air, in the closed rooms, masterfully depict the texture of objects. Household painting is located on top, thanks to Jana Wall (1626-1679), Gerhard Terborh (1617-1681), Peter de Hehu (1629-1624).
1. Small Dutch
Small Dutch are a group of artists of the XVII century, in which the painters of landscape and household genre paintings are united by the painters (hence the name). Such pictures were intended for a modest interior of residential buildings. They were acquired by the townspeople and peasants. For such pictures, the feeling of comfort is characterized in the picture, the subtlety of the details, the proximity of the person and the interior.
P. de Heh, Ya. Van Goyen (1596-1656), Ya. And S. Van Ryutsdal (1628-1682) and (1602 - 1670), E. De Witte (1617-1692), P. Clas, V. Hedi, V. Kalph (1619-1693), Tereborh, Metsu, A. Van Odete, Ya. Walls (1626-1679), A. Kyype (1620-1691), etc. Everyone specialized, as a rule, In one of the genre. "Small Dutch" continued the traditions of the Netherlands Masters of the Renaissance, who claimed that art should not only bring pleasure, but also remind of values.
Creativity of artists can be divided into 3 groups:
1630s. - approval of realism in national painting (the leading art center was Harlem, an important factor was the influence of F. Hals);
1640-1660s. - The flourishing of art school (the art center moves to Amsterdam, attracting artists from other cities, the effect of Rembrandt becomes relevant<#"justify">2. Dutch School of Painting
Three-quarters of the century continued the rise of art in the north of the Netherlands, in the Republic of the United Provinces, called Holland. In 1609, this republic received state status. Here there was a bourgeois state.
The Italian artist Caravaggio (1571-1610) was a significant role to painting the Renaissance era (1571-1610). He wrote his paintings very realistic, and the items and figures had a high lightweight technique.
Artists were a lot, and they lived in small towns: Kharlem, Delphte, Leiden. Each of these cities have developed its own school with genre theme inherent in it, but Amsterdam played the most important role in the development of Dutch art.
3. Genre painting
In Holland, together with the fame of the genre of the landscape, new ones appear: Marina - the sea landscape, the city landscape - the lead, image of animals is animal painting. Significant influence on the landscape was provided by Peter Bruegel (1525-1529). The Dutch wrote their, peculiar beauty of the nature of the native edge. In the XVII century, the Dutch School of Painting has become one of the leading in Europe. The surrounding objects of people have become a source of inspiration for artists. In the art of this time, the formation of a system of genres was completed, which began in the era of revival. In portraits, household paintings, landscapes and still lifes, artists transferred their impressions of nature and life. A new idea began to have a genre of household painting - genre painting. The household genre was formed in two species - the peasant and burgher (urban) genre. In genre paintings, a private person was depicted: Pirushki Gulik, economic activity, musitization. Artists paid attention to the outside, poses, costumes. The items became part of the coziness: a table of a mahogany, a wardrobe, a chair, a covered skin, a decanter of dark glass and a glass, fruit. Such a genre reflected the behavior and communication of people belonging to various estates.
The work of Garard Dow enjoyed greatly popular. He writes modest scenes from life with small bourgeoisie. Frequently depicts the elderly women sitting behind a battle or reading. The obvious tendency of DOU - the surfaces of the objects in their small pictures - patterns of fabrics, wrinkles of senile faces, fish, etc. (application; Fig.
But genre painting suffered evolution. During the period of becoming it, the stories on the topics of recreation, entertainment, scenes from the life of officers were distributed. Such pictures were called "breakfasts", "banquets", "societies", "concerts". This painting was distinguished by a variety of color and joyful tones. The original was the genre - "breakfasts". This is a look of still life, in which through the image of the dishes, a variety of dishes passed the character of their owners.
The household genre is the most distinctive and distinctive phenomenon of the Dutch school, which has discovered for world art everyday life of a private person.
In the genre theme of art wrote and Yang walls. He with a sense of humor marked the details of the life and relationship of people. In the painting "Walks" on the viewer, the artist himself sitting next to his wife, asleep after a fun feast, watches the viewer. And in the picture through the facial expressions and gestures of the characters, Yang wall skillfully reveals the plot of imaginary illness.
By the beginning of the 1930s, the Dutch genre painting was completed. Deli genre painting on social characteristic: plots on topics from the life of the bourgeoisie, and scenes from the life of peasants and urban poor.
One of the famous artists, writing in the "peasant genre," was Adrian Wang Osta. In the early period of creativity, the image of the peasants was distinguished by commissism. So, in the picture, illuminated by a sharp light, fights, seem not live people, and puppets. Contrasting of cold and warm colors, sharp contrasts of light create masks with evil emotions on their faces.
Later, the artist writes pictures with more relaxed plots, depicting a person during the usual occupations, most often in moments of rest. For example, the interior picture "Rustic Musicians". The tolee transmits the concentration of "musicians", with a barely noticeable humor depicting those who observe them into the window of children. In the "peasant genre" worked early the deceased brother of Adriana - ICAAP Wan Odete. He portrayed the life of rural Holland. In the picture "Winter View", a typical landscape with a gray, hanging over the ground, a frozen river, on the shore of which the village is located.
In the 50-60 years of the XVII century, the topics of genre paintings narrows, their system changes. They become calmer, lyrical, thoughtful. This stage is represented by the work of such artists as: Peter de Heh, Herard Terborh, Gabriel Metsu, Peter Yanence. Their work is characterized by the idealized way of life of the Dutch bourgeoisie. So, in the interior picture "Room in the Dutch House" Peter Jansence is depicted by sunlight cozy room with playing on the floor and on the walls of sunny bunnies. The choice of composition emphasizes the unity of man and the surrounding medium.
Dutch genre tried to reflect the inner world of man in the works. In regular situations, they were able to show the world of experiences. So, Gerard Terborh in the painting "Glass of Lemonade" depicted a barely caught language of gestures, touching hands, meetings with views reveals a whole range of senses and relationships of characters.
The subtlety, truthfulness in the recreation of reality is combined with Dutch masters with inconspicuous and everyday beauty. This feature manifested itself visually in still life. The Dutch was called "Stilleven". In this understanding of the masters saw in inanimate objects a hidden life associated with the life of a person with his life, habits, tastes. Dutch painters have created the impression of natural "disorder" in the location of the things: they showed the cut cake, peeled lemon with a spiral peel, a bad glass of wine, a burning candle, revealed the book - always it seems that someone concerned these items, just that they used them Feels the invisible presence of a person.
The leading masters of the Dutch still life of the first half of the XVII century were Peter Clas 1 And Willem Head. The favorite theme of their still lifes is the so-called "breakfasts". In "Breakfast with Omar" V. Heda (Appendix; Fig. 16) items of various shapes and material - a coffee pot, a glass, lemon, a silver plate. The objects are arranged so as to see the attractiveness and feature of each. Various techniques of the Heba exceed the material and the specifics of their invoice; So, the light glare is played differently on the surface of glass and metal. All elements of the composition are combined with light and color. In the "Still Life with a candle" of P. class not only not only the accuracy of the reproduction of material qualities of objects - the composition and lighting give them greater emotional expressiveness. Still lifes class and hedges are similar to each other - this is the mood of intimacy and comfort, peace of mind in the life of the Burgers house, where there is wealth. Still life can be viewed as one of the important topics of Dutch art - the subject of life of a private person. She received his main decision in the genre picture.
Symbolism. Still life
All items in Dutch still life are symbolic. Collections that have been published throughout XVIII<#"justify">o. silky petals near Vase - marks of fracility;
o. the faded flower is a hint of the feeling disappearance;
o. irises - the sign of the Virgin;
o. red flowers - a symbol of the redemant victim of Christ;
o. white lily not only a beautiful flower, but also a symbol of the impassion of the Virgin Mary;
o. carnation - a symbol of the spilled blood of Christ;
o. white tulip - false love.
o. pomegranate - symbol of resurrection, character chastity;
o. apples, peaches, oranges reminded about the fall;
o. wine in a glass or jug \u200b\u200bpersonified the sacrificial blood of Christ;
o. olive - symbol of the world;
o. rotten fruit - a symbol of aging;
o. ear of wheat, ivy - symbol of revival and cycle of life.
o. glass - a symbol of fragility;
o. porcelain - purity;
o. the bottle is a symbol of sin and drunkenness;
o. broken dishes - a symbol of death;
o. inverted or empty glass designates emptiness;
o. knife - symbol of betrayal;
o. silver vessels - the personification of wealth.
o. hourglass - a reminder of the frequency of life;
o. skull - reminder of the inevitability of death;
o. ears of wheat - symbols of revival and cycle of life;
o. bread - the symbol of the body of the Lord;
o. weapons and armor - a symbol of power and power, the designation of what cannot be taken with him into the grave;
o. keys - symbolize power;
o. smoking pipe - a symbol of fleeting and elusive earthly pleasures;
o. a carnival mask - is a sign of the lack of man; irresponsible pleasure;
o. mirrors, glass balls - vanity symbols, reflection sign, irreality.
The foundations of the Dutch realistic landscape were formed throughout the first XVII century. Artists depicted their nature with dunes and canals, houses and villages. They tried to portray the nationality of the landscape, the air atmosphere and the characterity of the year. The masters have increasingly subordinate all the components of the picture of a single tone. They finely felt the colors, skillfully owned the transition from light into the shadow, from the tone to the tone.
The largest representative of the Dutch realistic landscape was Jan Wang Goyen (1596-1656). He worked in Leiden and Hague. The artist loved to portray the valleys and the water surface of the rivers on small canvases. Many Places Goyen left the sky with the clouds. Such is the picture "View of the Vaal River Nimegen", aged in a thin brown-gray range of paints.
Later, the characteristic entity of the landscape changes. It becomes a little wider, more emotional. The specificity remains the same, but the tone acquire depth.
All new features of the landscape style embodied in his paintings Jacob Van Reydal (1629-1682). Depicting the volumetric trees and bushes, the feeling was created that they were put forward on the fore and become more powerful. Magnificently possessing a sense of perspective, Reydal skillfully passed wide plains and surroundings of Holland. The choice of tone and illumination brings focus. Reydal loved and ruins as decorative details, talking about the destruction, the strugnure of earthly existence. "Jewish cemetery" represents a launched area. Reydal did not use success at one time. The realism of his paintings did not correspond to the tastes of society. The artist deservedly enjoyed by the world glory, died by the poor man in Harlem's Laddle.
Portrait painting. France Hals.
One of the great Dutch artists was Frans Hals (about 1580-1666). He was born in the XVII century in Antwerp. A very young artist was hit in Harlem, where he grew up and formed in the manner of School Karel Van Mandera. Harlem was proud of his artist, and led him to the workshop of the famous guests - Rubens and Wang Dequee.
Hals was almost exclusively portrait, but his art meant a lot not only for portrait painting of Holland, but also for the formation of other genres. In the work of Hals, three types of portrait compositions can be distinguished: a group portrait, a customized individual portrait and a special type of portrait image, close by the nature of genre painting.
In 1616, Hals writes the picture of the Banquet of Officers of the Rifle Regiment of St. George, "in which it completely shaves with the traditional scheme of group porter. Creating a very living work, combining characters in the group and giving them various postures, he, as it were, captivated together a portrait with genre painting. The work was successful, and the artist was littered with orders.
His characters hold on the portrait of naturally and freely, their pose, gestures seem unstable, and on the faces the expression should be changed. The most remarkable feature of the creative manner of Hals is the ability to convey character through individual facial expressions and a gesture, as if caught on the fly - "cheerful companion", "Mulatto", "smiling officer." The artist loved emotional states, full speakers. But in this instant, that he captured Hals, always captured the most significant, the core of the image of the "Gypsy", "Malli Baba".
However, in the images of Hals of the very late 30s and 40s, thoughtfulness and sadness, alien to his characters, portrait of Willem Haythheysen, and sometimes slipping a light irony against the artist to them. From the art of Hals gradually leaving the jurisdiction of life and man.
The critical moments have come in Hals painting. In the portraits of Hals, written in the 50s and 60s, the in-depth skill characteristics are combined with a new inner meaning. One of the strongest works of late Hals is a men's portrait from the Metropolitan Museum in New York (1650-1652). The portrait composition is a generation image of the figure, its setting in a clean FAS, a look directed directly to the viewer, the significance of the individual is felt. In the posture of men read cold authorities and arrogant contempt for all. The feeling of self-esteem is connected in it with immeasurable ambition. At the same time, in his eyes, the shade of disappointment unexpectedly captures, as if in this person, regretful about the past - about his youth and youth of his generation, whose ideals are forgotten, and life incentives were faded.
Portraits of Hals 50-60s Much reveal in the Dutch reality of those years. The artist lived a long life, and he had a witness to witness the rebirth of a Dutch society, the disappearance of his democratic spirit. It does not happen by chance now from the fashion of the art of Hals. The late works of Hals clearly reflect the spirit of time, such an alien master, but his own disappointment in the surrounding reality is heard. In some works of these years, the opposite of the personal feelings of the old artist, who has lost the former glory and who has already seen the end of his life path.
Two years before death, in 1664, Hals were written by portraits of regents and recents (trustees) of the Harlemian shelter for the elderly.
In the "Portrait of Regent", everyone combines a sense of disappointment and doom. There is no vitality in the regent as in the early group portraits of Hals. Each alone, everyone exists by itself. Black tones with reddish pink stains creates a tragic atmosphere.
In another emotional key, the "Portrait of Regentsh" was resolved. In almost immovable storage faults, master authorities are felt, and at the same time, in all of them lives deep depression, feeling of impotence and despair in the face of the impending death.
Until the end of the days, Hals kept the infallibility of his skill, and the art of the eighty-year-old painter received penetration and strength.
6. Rembrandt Wang Rhine
Rembrand (1606-1669) is the largest representative of the golden century of Dutch painting. Born in Leiden in 1606. For artistic education, the artist moves to Amsterdam and enters the workshop of Peter Lastman, and then returns to Leiden, where in 1625 he starts an independent creative life. In 1631, Rembrandt finally moved to Amsterdam, and the rest of the Master's life is connected with this city.
Rembrandt's creativity, imbued with the philosophical comprehension of the life and inner world of man. This is the top of the development of the Dutch art of the XVII century. The artistic legacy of Rembrandt is distinguished by the variety of genres. He wrote portraits, still lifes, landscapes, genre scenes, paintings on historical, biblical, mythological topics. But the greatest depth of the artist is achieved in the last years of his life. The uffus has three works of the Great Master. This self-portrait in his youth, a self-portrait in old age, the portrait of the old man (Rabbi) in many later works the artist immerses the entire surface of the canvas in Dusk, focusing the attention of the viewer on the face.
This was depicted by Rembrandt aged 23 years.
The period of moving to Amsterdam was marked in the creative biography of Rembrandt by creating many male and women's etudes
In 1653, experiencing material difficulties, the artist transferred almost all his property to the son of Titus, after which he stated in 1656 on bankruptcy. After the sale of the house and property, the artist moved to the outskirts of Amsterdam, in the Jewish quarter, where he spent the rest of his life. The closest to him in those years, apparently, titus, because His images are most numerous. The death of titus in 1668 became one of the last blows of fate; He himself was not a year later. "Matthew and Angel" (1661). Perhaps the model for Angel was the titus.
The last two decades of the life of Rembrandt were the top of his skill as a portraitist. Models are comrades of the artist (Nicholas Breing
7. Vermeer Delftan Yang
dutch Art Painting Still Life
Vermeer Delftsky Yang (1632-1675) - Dutch painter, the largest master of the Netherlands genre and landscape painting. Worked Vermeer in Delft. As an artist was influenced by the tragically died in the explosion of the powder warehouse of Karel Fabrichus.
Early Vermeer Pictures have elevation of images ( Christ at Matern and Mary ). The work of the master of genre painting Peter de Hooch was a strong influence on the work of Vermeer. The style of this painter in the future finds development in the pictures of Vermeer.
From the second half of the 50s, Vermeer wrote small paintings with one or more figures in the silver light of the house of the house ( Girl with a letter Milk jug maid ). In the late 50s, Vermeer created two masterpieces of landscape painting: a heartfelt picture Stretch with shining, fresh, clean, paints and painting View of the city of Delfta . In the 60s, the work of the Vermeer becomes more refined, and painting is cold. ( Girl with pearl earring).
In the late 60s, the artist often portrayed richly furnished rooms, where ladies and holders are musitizing and lead gallant conversations.
In the last years of the life of the Vermeer, his financial situation has deteriorated greatly. The demand for paintings sharply fell, the painter was forced to take loans to feed eleven children and other family members. Probably, it accelerated the approach of death. It is not known what happened - acute disease, or depression due to finance, but buried Vermeer in 1675 in the family crypt in Delft.
The individual art of the Vermeer after death was not evaluated by contemporaries. Interest in him was revived only in the XIX century, thanks to the activities of the artistic criticism and historian of the art of Etienne Theophil Tore, who "opened" the Vermeer for the general public.
Conclusion
Appeal to real reality helped to expand the artistic possibilities of the art of Holland, enriched its genre theme. If, before the XVII century, biblical and mythological subjects were of great importance in European visual arts, and the other genres were weakly developed, then in Dutch art, the ratio between genres changes sharply. It occurs with the rise of such genres as: household genre, portrait, landscape, still life. The biblical and mythological plots in Dutch art are largely losing the former forms of incarnation and are now treated as household paintings.
With all the achievements, Dutch art carried both some specific features of limitations - a narrow circle of plots and motifs. Another minus: Only some masters sought to find in phenomena their deep base.
But in many composite paintings, portraits of images are of the deepest character, and landscapes show true and real nature. It became a distinctive feature of Dutch art. Thus, painters made a big breakthrough in art, mastering a difficult and difficult ability to write images of the inner world of man and experiences.
Examination gave me the opportunity to test your creative abilities, replenish the stock of theoretical knowledge, learn more deeply about Dutch artists and their works.
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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 it. 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 (1629-1884)
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 (1629-1882)
Portrait of a raisdale. Lithograph from the 19th century book. \u003d Dutch painting. Big collection \u003d.
Dutch painting is the first branch of the so-called. "Netherlands School", like the second - Flemish, arose as a separate epoch in the visual arts after a cruel revolution, the end of the victory of the Dutch people over the oppressing Spaniards. From this point on, the Dutch painting at once takes the original, quite national character and quickly reaches a bright and abundant heyday. Painting, in the works of a huge variety of more or less talented artists who appeared almost simultaneously, immediately accepted the direction here very versatile and at the same time completely different from the direction of art in other countries! The main feature characterizing these artists is the love of nature, the desire to reproduce it in all its simplicity and truth, without the slightest gloves, without summing up under any conditions of the prejudice ideal. The second feature of its distinctive feature is a subtle feeling of color and an understanding of how a strong, charming impression can be produced, in addition to the content of the picture, alone, alone and the powerful transmission of colorful relations caused by the action of light rays, proximity or range of distances. Dutch painting is a painting where the feeling of paints and blacks is developed to such an extent that the light with its countless and diverse nuances plays in the picture, one can say, the role of the main acting person and betrays the most insignificant plot, the most reputable forms and images ... . Improve you your personal collection of Dutch artists's cloths! A little story: most of the Dutch artists are not started in the long search for the material for their creativity, but is content with the fact that it finds around them, in the native nature and in the life of their people - the noisy fun of common holidays, peasant porcisses, scenes of the village life or intimate life of citizens , native dunes, priests and unbarrous plains intersectable by canals, herds grazing on fat meadows, settlements on the banks of rivers, lakes and articles, cities with their clean houses, lifting bridges and high spiers of churches and town hall, harbor, cluttered with silver ships, filled with silver or golden pairs of the sky - all this, under the brush of the Golle. Masters, imbued with love for the Fatherland and National Pride, turns into pictures, full air, light and attractiveness. Even in those cases where other of these masters are addressed to the themes of the Bible, ancient history and mythology, then, without taking care of the observance of archaeological loyalty, they carry the action on Wednesday of the Dutch, surround it with the Dutch atmosphere. True, next to the crowded crowd of such patriot artists, the phalanx of other painters seeking inspiration outside the Fatherland, in the classic country of art, Italy; However, in their work, they break the features that are pronounced their nationality. Finally, as a feature of Dutch painters, you can point out their renunciation of artistic traditions. In vain, it would be necessary to look for the strict continuity of the well-known aesthetic principles and technical rules not only in the sense of academic style, but in the sense of the learners of the character of their teachers: with the exception, perhaps, alone, Rembrandt's students, more or less closely following their footsteps The brilliant mentor, almost all the painters of Holland, barely only passed their student years, and sometimes already during these years, began to work in their own way, according to the one where their individual inclination was involved and what the direct observation of nature was taught. Therefore, Dutch artists cannot be distributed to schools, just as we do about the artists of Italy or Spain. Meanwhile, in all the main cities of Holland there were organized societies of artists! However, such societies that carried the name of the guilds of St. Luke, were not an academy, the keeper of well-known artistic traditions, and free corporations, similar to other handicraft and industrial guilds, are not much different from them with respect to the device and those who had the goal of mutual support for their members, the protection of their rights, care for their old age, the care of fate Their widows and orphans. Any local painter who satisfy the requirements of moral cencing was taken to the guild on a preliminary certificate in his abilities and knowledge or on the basis of the fame acquired by him; The visiting artists were allowed in the guild as temporary members for their stay in this city. Early works of Dutch painters reached us only in very limited quantities, since most of them died in that vague, when the reformation devastated the Catholic temples, abolished monasteries and abbey, incited "breaking icons" (Beeldstormers) to destroy the pictorial and sculptural sacred images, And the popular uprising exterminated throughout the portraits of her tyranov hates. Many of the artists preceding the revolutions, we only know by name; Others have the opportunity to judge only one-two samples of their work. The fog clouding from us the initial era of the Dutch school begins to dissipate with the appearance on the scene of the battles dirk, nicknamed († 1475), as well as Yana Mostart (about 1470-1556) in which the desire for naturalism is connected with a touch of gothic legend, the heat of religious feeling With care about external elegance. In addition to these outstanding masters, from the initial era of Dutch art deserve to be mentioned: Peter Arsen († 1516), nicknamed for its high growth "Long Peter" (Lange Pier), David Ioris (1501-56), a skillful painter on the glass, carried away by anabaptic Raznomy and imagined himself the prophet David and the Son of God and Dirk Jacobs (two pictures of the latter, depicting shooting societies, are available in the Hermitage). Near the middle of the XVI table. In the medium of the Netherlands painters there is a desire to get rid of the shortcomings of domestic art - its gothic angularity and dryness - the study of Italian artists of the Renaissance and the connection of their manners with the best traditions of their own school. The main distribution of the new movement should be considered Yang Van Soll (1495-1562), who has long lived in Italy and found it later in Utrecht, from which a number of artists infected with the desire to become Dutch Rafael and Michelangelo came out. In his footsteps, Martin Van Van, called Chemiskerk (1498-1574), Henrik Golcyus (1558-1616), Cornelis Wang Harlem (1562-1638) and others belonging to the next period of school, which, for example, Abraham Blumart (1564 -1651) And Gerard Hontglist (1592-1662), which were sent for the Alps to penetrate the perfections of the cornea of \u200b\u200bItalian painting, but they fell, for the most part, under the influence of representatives started at that time of decline of this painting. However, the people's passion for the Italians, often sacrificed in a transitional era to the extreme, brought a kind of benefit, as it contributed to this painting the best, more scientist drawing and decrease more freely and boldly dispose of the composition. Together with the Stagniderland tradition and unlimited love for nature, Italianism was made by one of the elements, of which the original, highly developed art of the blooming era. The offensive of this era, as we have already said, should be dedicated to the beginning of the XVII Art., When Holland, won independence, healed new life. The sharp transformation of the oppressed and poor country in a politically important, well-established and rich state union was accompanied by an equally sharp coup in its art. From all sides, almost at once, there are wonderful artists in the uncountable number! New - Delft, Utrecht, Dordrecht, Hague, Amsterdam, Dordrecht, Hague, Amsterdam, and others are added to the original artistic centers, Garleos and Leiden. Reformation expelled religious paintings from churches; There was no need to decorate the palaces and the venerable chambers with images of ancient gods and heroes, and therefore historical painting, satisfying the tastes of the rich bourgeoisie, discarded idealism and turned to the exact reproduction of reality. If he decided to talk about all the gifted portrait of this blooming era, then one list of their names with an indication of their best work would take a lot of rows; Therefore, we are limited to mention only some. Such, for example, Michael Merlelt (1567-1641), the predecessor of the three greatest portraits of Holland - Clavius \u200b\u200bof Rembrandt Wang Raina (1606-69), an unmatched draftsman, who had amazing art modeling figures in the light, but a little cold in character and color of the Bartholomecy van der der Helsta (1611 or 1612-70) and hitting his brush França Hals senior (1581-1666). Of these, the name of Rembrandt's name shines especially brightly in history, first who used honors from their contemporaries, then they are forgotten, little appreciated by offspring and only in the current century erected throughout justice to the degree of world genius. In his characteristic artistic personality, they focus on focus, all the best qualities of Dutch painting and its influence affected all its birth - in the portrait, historical paintings, household scenes and landscape. Between the students and followers of Rembrandt acquired the greatest fame: Ferdinand Pain (1616-80), Giatert Flink (1615-60), Herbrand Wang Den Ecut (1621-74), Nicholas MAS (1632-93), Art De Helder (1645-1727 ), Jacob Backer (1608 or 1609-51), Yan Victors (1621-74), Karel Fabrichius (OK. 1620-54), Peter de Gores, Willlem de Porter († Later 1645), Gerard Dow (1613-75) And Samuel Wang Hogstraten (1626-78). In addition to these artists, Yana Livenza (1607-30), Comrade Rembrandte (1607-30), Comrade Rembrandt by study at P. Lastman, Abraham Van Tempel (1622-72) and Peter Nonone (1612-91), who worked visible, influenced in. D. Helst, imitator Hals Iohannes, Vysredrock (1597-1662) and Yana De Bara († 1664, † 1697). Household painting, the first experiments of which were still in the old Netherlands school, found themselves in the XVII century. Especially grateful soil in Protestant, free, bourgeois, satisfied with Holland. Small pictures, inesentially representing the morals and life of different classes of local society, seemed to sufficient people more enforceable than large works of serious painting, and on a par with landscapes - more handy for decorating cozy private dwellings. The whole hordee artists satisfy the requirement for such paintings, conscientiously reproducing everything that neither occurs in reality, showing the love for his own, native, the good-natured humor, accurately describing the picturesque positions and face and sophistication in the skill of technology. Then someone occupy a common life, the scenes of peasant happiness and grief, a booze in zucchini and harchers, gathering to roadside hotels, rural holidays, games and skating on ice frozen rivers and canals, etc., others take the content for their works From the more elegant circle - they write elegant ladies in their intimate atmosphere, leaving for them the cavaliers, household owners who give orders to the maids, salon exercises in music and singing, centes of gold youth in pleasure houses .... in a long row of artists of the first category Adrian and Isaac van Odete (1 6 10-85, 1621-49), Adrian Browver (1605 or 1606-38), Yang walls (about 1626-79), Cornelis Bayia (1620-64), Richard Blanbürg (1650- 1702), Peter Van Lar, nicknamed in Italy Bamnelicho (1590-1658), Cornelis Dyzart (1660-1704), Joss Drochzlot (1586-1666), Clas Molentener (earlier than 1630-76), Jan Maine Molyar (about 1610-68 ), Cornelis Saflevlen (1606-81). From an equally significant number of grounds, enjoyed by Gerard Terborh (1617-81), Gerard Dow (1613-75), Gabriel Metasu (1630-67), Peter de Hough (1630-66), Kaspar Nesser (1639-84), France Van Miris Senior (1635-81), Eaga Van der Rod (1643-1703), Iang Vergold (1650-93), Quiring Brequelenp († 1668). Jacob OXTERVELT († 1670), Dirk Hals (1589-1656) and Anthony Parametes (1601-73). To the category of genre, you can rank artists who wrote scenes of military life, as well as the plots of scenes of falcon and pins of hunting. The chief representative of this industry painting is the famous and extraordinarily prolific Philips of Hovverman (1619-68). In addition to him, her brother of this master, St. Petersburg (1623-82), the aforementioned palaceedes, Jacob Dyuk (1600 - later than 1660) and Dirk Maas (1656-1717) were perfectly developed. Many of the named artists landscape plays the same important role as human figures; But in parallel with them, the mass of the painters, putting him by the main thing or an exceptional task. In general, the Dutch holders belong to the inalienable right to be proud of the fact that their fatherland is homeland not only the newest genre, but also the landscape in the sense, as it is understood in our days. In fact, in other countries, for example, in Italy and France, art was not very interested in inanimate nature, there was no peculiar life, nor special beauty. The Dutch was the first to comprehend that even in an inanimate nature breathes his life, everything is attractive, everything is capable of causing the thought and excite the movement of the heart. And it was quite natural, because the Dutch, so to speak, created their hands around them with their own hands, treated and admired her how her father values \u200b\u200band admire his own brainchild. Among the landscape players of the blooming period of the Dutch school are especially respected: Jan Wang Goyen (1595-1656), who, together with Ezaias Van de Veld (approx. 1590-1630) and St. Petersburg Moles. (1595-1661) is considered the founder of the Dutch landscape; Then the student of this master, Salomon Van Ryutal († 1623), Simon De Fliger (1601-59), Yang Weinantans (approx. 1600 - later than 1679), amateur effects of the best lighting art van der Ner (1603-77), Poetic Jacob Van Ryutal (1628 or 1629-82), Mainert Hobbeme (1638-1709) and Cornelis Decker († 1678). Among the Dutch, there were also quite a few landscape players who were stuck in the journey and reproducing the motives of alien nature, which, however, did not prevent them from preserving them in their painting. Allaert Van Everdingen (1621-75) depicted the types of Norway; Yang Bot (1610-52) - Italy; Herman Sakes (1610-85) - Rhine; Cornelis Puelenburg (1586-1667) and the group of his followers wrote landscapes on the motives of Italian nature, with the ruins of ancient buildings, bathing nymphs and scenes of imaginary Arcadia. In a special discharge, the masters can be distinguished, which in their paintings combined the landscape with the image of animals, giving advantage of the first, then the second or the intercourse of both parts with the same attention. Famous in a number of such painters of rural idyll - Paulus Potter (1625-54); In addition to him, Adrian Van de Velde (1635 or 1636-72) must be found here, Albert Cape (1620 - 91) and numerous artists who addressed the themes preferably or exclusively to Italy, what are: Adam Peynaker (1622-73), Yang - Baptist Venix (1621-60), Klas Bercher (1620-83), Karel Duzardden (1622-78) and others. To the landscape, the painting of architectural species, which Dutch artists began to engage as an independent industry of art only in half of the XVII century. Some of those worked since then on this part were sophisticated in the image of urban streets and areas with their buildings; Such - Johannes Beerestrate (1622-66) and Jacob van der Ulf (1627-88). Others, among whom Peter Sanredam († 1666) and Dirk Van Dellen (1605-71) wrote internal species of churches and palaces. The sea had much importance in the life of Holland, that her art could not treat him otherwise, as with the greatest attention. Many of her artists engaged in the landscape, genre and even a portrait, taking off at the time of their ordinary plots, were made by marinists, and if he decided to list all the painters of the Dutch school depicting a calm or racing sea, ships, clouded by ships of the harbor, sea The battles, etc., would have turned out to be a very long list, which would be included in the names of J. in. Goyena, S. De Flyger, S. and Ya. Ryutsdalea, A. Cape and the others already mentioned in the previous lines. Restricted by the same indication on those for whom the painting of marine species amounted to a specialty, should call Villem Wang de Velte Senior (1611 or 1612-93), his famous son Villem Van de Velte Jr. (1633-1707), as well as Yana Van de Cappell ( † 1679). Finally, the realistic direction of the Dutch school was the reason for the fact that it was formed and developed a genus of painting, which in other schools was not cultivated as a special, independent industry, namely painting flowers, fruits, vegetables, livestock, kitchen accessories, dining area etc. - in the word, what is customary to be called "dead nature" (Nature Morte, Stilleben). In this area between the Dutch artists of the blooming era, the greatest fame of Jan-Davids de Hem (1606-83), his son Cornelis (1631-95), Abraham Mignon (1640-79), Melchior de Chondoceaker (1636-95), Maria Ustweik (1630-93), Villem Van Alst (1626-83), Willle Hed (1594 -Pare 1678), Calph Villem (1621 or 1622-93) and Yang Venix (1640-1719). In general, as we see, probably, still the main distinguishing feature of the development of Dutch art for all these years there was a significant predominance among all his species of painting. The paintings were decorated at home not only by representatives of the ruling top of society, but also of the poor burghers, artisans, peasants; They were sold at auctions and fairs; Sometimes artists used them as a means of paying bills. The artist's profession was not rare, painters were a lot, and they were severely competing among themselves. Few of them could feed themselves with painting, many were taken for a wide variety of work: the walls were a restaurant, Hobbema - an excise official, Jacob Van Reydal - a doctor.))))) Since the beginning of the XVIII century. In the Dutch painting, the French tastes and the views of the sprayed era of Louis XIV are imitated - imitation of Poussin, Lebrene, CL. Lorrane and others. French school cables. The main distributor of this direction was settled in Amsterdam Flemandes Gerard de Lesshes (1641-1711), the artist is very capable and for its time educated, having had a huge influence on contemporaries and the closest offspring, as well as his manner pseudo-historical paintings and works by his pen, between which one - "Great Book of Painter" ("T GROOT SCHILDERBOEC) - for fifty years served as a code for young artists, as well as the famous Adrian Van de Verff (1659-1722), painting with cold, as if cut from ivory figures, seemed Then riding perfection. Between the followers of this artist, he enjoyed fame as historic painters Henrik Van Limborg (1680-1758) and Philip Van Duck (1669-1729), called "Little Wang Disc". From other painters under consideration of the era, endowed with certain giving, but infected with the spirit of time, should be celebrated Willem and França Van Mirisa junior (1662-1747, 1689-1763), Nicholas Verchenga (1673-1746), Konstantin Netzer (1668-1722) and Karel de Moore (1656-1738). Cornelis Troost (1697-1750), predominantly caricaturist, nicknamed Dutch Gogard, portraitist Yang Quinched (1688-1772), a decorative and historical painter Jacob de Vit (1695-1754) and the painter of the dead nature Yang Van Haisum (1682 -1749). A foreign effect on the twentieth years of the XIX century is alien to the twenties of the XIX century, while more or less reflect those modifications in it, which art was taken in France, starting with the pair of the time of the Sun king and ending with Pseudoclassicism David. When the style of the latter has talked his age and everywhere in the west of Europe, instead of passionate, the romantic desire, mastered as poetry and figurative arts, the Dutch, like other peoples, turned to their old days, and, consequently, to the glorious past of her Painting. The desire to inform her again the brilliance as she shone in the XVII century, began to animate the newest artists and returned them to the principles of old national masters - to strict observation of nature and inesential, sincere attitude towards the presenters. At the same time, they did not try to completely eliminate foreign influence, but, going to study in Paris or Düsseldorf and other art centers of Germany, exported home from there only acquaintance with the successes of modern technology. Thanks to all this, the revived Dutch school again received originality and moved in our days along the way leading to further progress. For many of their newest leaders, she can safely oppose the best painters of the XIX century in other countries. Holland may well be proud of several significant modern masters: Jacob Square (1793-1861), David Blis (born 1821), Herman Ten Kate (1822-1891) and "Deserter" in England Highly Breedy Lawrence Alma Tadema (r. 1836), Ibef Israels (r. 1824) and Christoffel Bischop (r. 1828), Anton Mauwe (1838-88) and Jacob Maris (r. 1837), Bartolomeus Van Hov (1790-1888) and Johannes Bosboom (1817-N), Henrik Mesdag (r. 1831), Wurles Vershur (1812-74) and many others .....