Steckbrett von samuel van hoogstraten biography
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Antoni Ziemba, Illusion and Realism The Game with the Spectator in Dutch Art –
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Adriaan E . Waiboer
virtuoso light effects, nightscapes were the perfect vehicle to show off their skills. In the seventeenth century this utmaning became paramount. The quintessence of Rembrandt's Nocturnal Landscape with the Rest on the flygning into Egypt (cat. no. 33), for example, fryst vatten not the biblical story, but the play of multiple lights sources and the evocation of a spellbinding atmosphere. Although artists in general seem to have striven continuously to represent the night and nocturnal belysning with increasing naturalism, others focused on creating gloomy or idyllic atmospheres. In his Landscape with Gallows (cat. no. 23), for example, Rubens deliberately reduced the realism of the light in order to create an ominous, almost eerie mood to underscore the gruesomeness of the criminal hanging on the gallows. Aert van der Neer adjusted the colour of his
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CODART, Dutch and Flemish art in museums worldwide
When we think of Samuel van Hoogstraten, several memorable paintings come to mind, and also his treatise, one of the key texts on art of the period. His significance is further heightened by the fact that he was a pupil of Rembrandt. He was evidently an enthusiastic presence in the studio, absorbing theory, technique and style. He developed a formidable dedication to the art of painting. He went on to share his knowledge as he worked and taught in various cities in the United Provinces, as well as abroad, and through his treatise. In , the Rembrandt House and the KHM Vienna in cooperation, together with several partners, will be presenting his life and work in two exhibitions, accompanied by various publications.
Van Hoogstraten came to Rembrandt at the earliest in with considerable training already under his belt, from his father the painter Dirck van Hoogstraten. He stayed on as a pupil until , and probably as a teaching assista
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Maße:
H 63,0 cm B 79,0 cm
Jahr:
/78
Ort:
nicht ausgestellt
Handelt es sich bei dem gerahmten Brett mit den eingesteckten Dingen um ein wirkliches Objekt oder hängt es nur als gemaltes Abbild an der Wand? Der Maler, Autor und Kunsttheoretiker Samuel van Hoogstraten irritiert mit seinem „Augenbetrüger“-Stillleben. Solche auch „Quodlibet“ (lat. „Was beliebt“) oder Trompe-l'œil (frz. „Täusche das Auge“) genannten Darstellungen waren ab sehr beliebt. Sie galten bereits im Altertum als Maßstab für die meisterliche Nachahmung der Wirklichkeit in der Malerei.
Wie auf einem Steckbrett hat Hoogstraten 21 Gegenstände angeordnet. Sie werden von zwei quer verlaufenden schmalen Lederbändern gehalten, die mit Messingnägeln fixiert sind. Die unterschiedlichen Objekte sind farblich und stofflich überaus perfekt wiedergegeben, sie erscheinen täuschend echt. Bei der Mehrzahl von ihnen handelt es sich um Dinge, die mit dem Maler selb