Wayne Franits
Syracuse University, Art and Music Histories, Faculty Member
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In his own day, Godefridus Schalcken (1643—1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive... more
In his own day, Godefridus Schalcken (1643—1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive examination of Schalcken’s activities there. The author analyses Schalcken’s strategic appropriations of English styles, his attempts to exploit gaps in the art market, and his impact on tastes in London’s milieu. Five chapters survey his art during these years, concluding with a critical catalogue of all his London-period work.
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Preface List of Illustrations Introduction Notes to the introduction 1. Maeght and Vryster Notes to chapter 1 2. Bruyt and Vrouwe Notes to chapter 2 3. Moeder Notes to chapter 3 4. Weduwe Notes to chapter 4 Conclusion Bibliography... more
Preface List of Illustrations Introduction Notes to the introduction 1. Maeght and Vryster Notes to chapter 1 2. Bruyt and Vrouwe Notes to chapter 2 3. Moeder Notes to chapter 3 4. Weduwe Notes to chapter 4 Conclusion Bibliography Illustarted captions.
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... pertaining to artistic development, style, and influence. Around the period of the Second World War scholars slowly began to reassess time-honored perceptions of Dutch paintings.'2 Specialists of... more
... pertaining to artistic development, style, and influence. Around the period of the Second World War scholars slowly began to reassess time-honored perceptions of Dutch paintings.'2 Specialists of that era gradually perceived that the verisimilitude ot Dutch genre pictures, their ...
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... in the art of Vermeer Lisa Vergara, 5. The landscape on the wall in Vermeer Elise Goodman, 6. Vermeer on the question of love H. Rodney Nevitt, Jr., 7. Religion in the art and life of Vermeer Valerie Hedquist, 8. Vermeer and the... more
... in the art of Vermeer Lisa Vergara, 5. The landscape on the wall in Vermeer Elise Goodman, 6. Vermeer on the question of love H. Rodney Nevitt, Jr., 7. Religion in the art and life of Vermeer Valerie Hedquist, 8. Vermeer and the representation of science Klaas van Berkel, 9 ...
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... 29 Psalm 128: 3, "Thy wife shall be as a fruitful vine by the sides of thine house: thy children like olive plants round about thy table." See de Jongh, op. cit. ... I would also like to point out that Jan Steen, whose... more
... 29 Psalm 128: 3, "Thy wife shall be as a fruitful vine by the sides of thine house: thy children like olive plants round about thy table." See de Jongh, op. cit. ... I would also like to point out that Jan Steen, whose solemn depictions of grace are discussed below, was a Catholic. ...
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... An archival document dated August 5, 1652, reveals that De Hooch was pres-ent in Delft at the signing of a will on that date, together with Hendrick van der Burch (1627-after 1666), a fellow painter who eventually became his... more
... An archival document dated August 5, 1652, reveals that De Hooch was pres-ent in Delft at the signing of a will on that date, together with Hendrick van der Burch (1627-after 1666), a fellow painter who eventually became his brother-in-law. Page 11. ...
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Correction: Illustration on p. 235 depicts De Hooghe's servant, not De Hooghe himself.
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Summary This article focuses upon the three self-portraits that Godefridus Schalcken painted during his London period (1692–1696). It is argued that these three works played a fundamental role in Schalcken’s strategy of promoting himself... more
Summary
This article focuses upon the three self-portraits that Godefridus Schalcken painted during his London period (1692–1696). It is argued that these three works played a fundamental role in Schalcken’s strategy of promoting himself in London (and at the same time on the European continent) as a supremely talented virtuoso who excelled at portraying sitters in nocturnal settings. Moreover, as Schalcken’s self-portraits
make clear, his practice of creating spectacularly illuminated settings enabled him to emulate and ultimately transcend the paradigms created by many of his rival portraitists in London.
Zusammenfassung
Der Aufsatz behandelt die drei Selbstporträts, die Godefridus Schalcken während seines London-Aufenthalts (1692–1696) schuf. Es wird deren entscheidende Rolle in Schalckens Werbestrategie deutlich, die darauf abzielte, sich in London (und gleichzeitig auf dem europäischen Kontinent) als virtuoses Talent zu profilieren, das seine Auftraggeber in nächtlichem Ambiente zu porträtieren verstand. Darüberhinaus, so
verdeutlichen es die Selbstbildnisse, erlaubte ihm die Komposition von spektakulär beleuchteten Szenerien in einen Wettstreit mit den von seinen Konkurrenten auf dem Porträtmarkt in London gepflegten Mustern zu treten und sie letztlich zu übertreffen.
This article focuses upon the three self-portraits that Godefridus Schalcken painted during his London period (1692–1696). It is argued that these three works played a fundamental role in Schalcken’s strategy of promoting himself in London (and at the same time on the European continent) as a supremely talented virtuoso who excelled at portraying sitters in nocturnal settings. Moreover, as Schalcken’s self-portraits
make clear, his practice of creating spectacularly illuminated settings enabled him to emulate and ultimately transcend the paradigms created by many of his rival portraitists in London.
Zusammenfassung
Der Aufsatz behandelt die drei Selbstporträts, die Godefridus Schalcken während seines London-Aufenthalts (1692–1696) schuf. Es wird deren entscheidende Rolle in Schalckens Werbestrategie deutlich, die darauf abzielte, sich in London (und gleichzeitig auf dem europäischen Kontinent) als virtuoses Talent zu profilieren, das seine Auftraggeber in nächtlichem Ambiente zu porträtieren verstand. Darüberhinaus, so
verdeutlichen es die Selbstbildnisse, erlaubte ihm die Komposition von spektakulär beleuchteten Szenerien in einen Wettstreit mit den von seinen Konkurrenten auf dem Porträtmarkt in London gepflegten Mustern zu treten und sie letztlich zu übertreffen.
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Publisher: Amsterdam University Press In his own day, Godefridus Schalcken (1643—1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents,... more
Publisher: Amsterdam University Press
In his own day, Godefridus Schalcken (1643—1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive examination of Schalcken’s activities there. The author analyses Schalcken’s strategic appropriations of English styles, his attempts to exploit gaps in the art market, and his impact on tastes in London’s milieu. Five chapters survey his art during these years, concluding with a critical catalogue of all his London-period work.
In his own day, Godefridus Schalcken (1643—1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive examination of Schalcken’s activities there. The author analyses Schalcken’s strategic appropriations of English styles, his attempts to exploit gaps in the art market, and his impact on tastes in London’s milieu. Five chapters survey his art during these years, concluding with a critical catalogue of all his London-period work.
Research Interests:
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Church interiors, cortegaerdjes, scenes of everyday life, tronies, landscapes, spoockerijen, group portraits, bambocciate, hunting scenes, history paintings, sottoboschi, still lives and many other subjects: the wide variety of pictorial... more
Church interiors, cortegaerdjes, scenes of everyday life, tronies, landscapes, spoockerijen, group portraits, bambocciate, hunting scenes, history paintings, sottoboschi, still lives and many other subjects: the wide variety of pictorial genres and sub-genres in which Dutch artists specialized are key components in our perception of Dutch seventeenth-century art. Yet the epistemological framework constituted by genre definitions, conventions and hierarchies is far from self-evident, nor does it necessarily reflect how people in the seventeenth-century thought about artworks. In fact, art literature of the period is largely silent on these matters and artists do not appear to have followed an established set of principles. This volume examines the way pictorial genres can be, and have been, defined by artists, theorists, audiences and art historians; how individual artists conceived the subject matter of their artworks; and how society and the art market contributed to the development of certain subjects. As such, it embraces the complex and often messy reality of pictorial genres in seventeenth-century Dutch art.
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This is the first book in English dedicated to the entire artistic output of 17th-century Dutch artist Godefridus Schalcken. It examines his paintings and career trajectory against the background of his ceaseless pursuit of fame and... more
This is the first book in English dedicated to the entire artistic output of 17th-century Dutch artist Godefridus Schalcken. It examines his paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of his artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of his ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck, all played a role in Schalcken' s great professional success. Since Schalcken' s art, like that of all Dutch painters, provides a plethora of information about 17th-century culture-its predilections, its prejudices, indeed, its very mind-set-the book also inevitably links his work to the broader socio-cultural contexts in which it was created.