RKD STUDIES

1.3 Case Study for Using the DttG database – Grey over Red Double Grounds

... economic advantage of this structure: substituting earth pigments for part of the lead-white mass yields measurable cost savings while maintaining a workable, visually coherent surface.28Returning to the database, we see these ideas confirmed across a broad sample of paintings. Of the 834 paintings currently in the database, 142 have grey over red double grounds and 193 have double grounds with a red first ground.29 However, there are only 33 paintings with a red uppermost ground, indicating that painters did not regularly choose this colour to paint on. In contrast, the database has 281 paintings with a grey uppermost ground (including single grounds). Indeed, light grey was the most popular ground colour to work on during this period, as shown in Figure 1.2. These results support the idea that the lower layer of a double ground was chosen for structural and economic rather than optical reasons.The grey-over-red double ground provides a particularly revealing lens through which to examine artistic decision-making and knowledge transfer. As briefly described here, its dual structure encapsulates two of the main motivations for Netherlandish artists to adopt coloured grounds: economic consideration and aesthetic ambition. It reflects both the pragmatic demands of a growing art market and an evolving understanding of how colour, tone, and material structure could interact to shape pictorial effect. In this sense, it exemplifies the kind of phenomenon that the DttG database is designed to uncover—patterns of shared practice that become visible only when technical evidence is aggregated across collections and time....

p. 26-30 Rembrandt

... 26 MUSEUM OF AMSTERDAM.... others lies an open book; one, with his hand flat on the pages of the boo...

... g syndics, the mouche is gone and only a light mustache remains. Soon the razor will remove even these last hairs. We see that the revolution in Holland went through the same episodes as in France.France has always set the tone for Europe in these serious matters of beards and wigs, collars, and hoop skirts.So here we are in 1661 with the Hollanders. Holland's great original era is already over and will never return....

... ty, perhaps the son of the old man whom he somewhat resembles from a distance, is naturally more impatient than the others because of his age, and he stands halfway between the old man and the speaker.191 His gaze is also drawn to the imaginary gathering. Like his father, he has refused to wear a wig; he is content with his natural hair and still has a pointed beard on his chin. Both are dressed in black and wear the same large traditional hat as their companions, despite the fact that the other three do wear wigs under those hats.192Behind these five main characters, lined up ......

... in the world: only four notes, interacting and making themselves heard, with their sharps and their flats, in a brown scale: the flesh, heads and hands, and whites are glazed with bister; the hair and backgrounds are glazed with brown; the tapestry has brown in its reds; the blacks have brown accents. It always comes down to: C, E, G, C. No discord. No disparity. A single effect. Light is everywhere and air circulates. In the representation of a real event, painting can go no further....

... g of the Amsterdam museum, corrected in 1850, attributed two more paintings to Rembrandt: the portrait of Pieter van Uitenbogaard, now listed as of his school (no. 230),196 and the Beheading of John the Baptist [23], now as Drost, under the title: Herodias accepting the head of John the Baptist (no. 69) (1).197Van Uitenbogaard, a receiver in Amsterdam, was in fact one of the friends of Rembrandt. He even did him some favors as a result of the series of paintings he painted for Prince Frederik Hendrik. Rembrandt etched the portrait of Uitenbogaard ...------(1) The new cat. trans...

p. 51-55 School of Rembrandt, Miereveld, Van Ravestein, Frans Hals, Van der Venne, Gerard Honthorst, etc.

... ume that Fictoor and Victors are not the same, especially since all the works attributed to these two names are not similar. The Fictoor in the portrait in the Louvre is undoubtedly Dutch and a very good follower of Rembrandt. The Victors I have seen are generally much weaker, for example the Prophetess Anna, signed J. Victor 1643, in the Van den Schrieck gallery in Louvain;323 however, the dates that follow both names are always about 1640 to 1650. Who can clarify the biography of this painter, about whom nothing is known?...

... 565328 and died in 1621, – i.e. Hendrik (2), architect and sculptor, who is ...------(1) The new cat. does not change this. It only tells us that this so-called Bramer was bought at public auction for 17 guilders (35 francs)! and the small sketch, attributed to Sandrart, for 14 guilders. By the way, the portrait was engraved by A. Bloteling, but perhaps after the original painting, which is not the one attributed to Leonard Bramer.(2) The new cat. retains this attribution to Hendrik, the architect ......

... 3].333 Engraved by Lange (1)[64].The landscape, View of a Forest with a River, attributed to Philip Koninck, is neither as authentic nor worthy of our attention (2) [65].334------... and sculptor, and gives a monogram we had not previously discovered: DK, the k formed within the D, and attached to the vertical style. But isn't this monogram, which does not indicate a first name, exactly Theodor's mark?(1) From the Province of Groningen, purchased for 2,000 guilders in 1829 (new cat.).(2) The new cat. erroneously writes: de Koning. The painter signs: ......

... . Slabbaert is even closer to Rembrandt's style.341 It shows a Woman cutting bread (no. 258).342 The figure is in the style of Van den Eeckhout, and the background is somewhat reminiscent of Pieter de Hooch (2) [69].------... Koninck (see Trésors d'art exposés à Manchester, etc., by W. Burger, p. 253ff.). Only 310 guilders was paid for this so-called Amsterdam Koninck at a very famous auction, that of G. van der Pot, in Rotterdam, in 1808.343(1) Bought for 275 guilders at the auction of J. de Bosch, Amsterdam (new cat.).(2) Auction Baronesse Van Leijde van Warmond, 1816, 841 guilders (new cat.)....

... his time and is still highly esteemed by the Dutch. But he had sacrificed Dutch originality to the Italian fashion, which prevailed for a while in the xvith century. The Amsterdam Museum has by him: Adam and Eve and The Infanticide, in pseudo-Florentine style, and a poor portrait of D.V. Koornhert. The Infanticide is dated 1590, and Adam and Eve, 1592, both with the double CC – Cornelis Corneliszoon (son of Cornelis) – and the H of: Haarlem.347(2) Of the previous generation, from the beginning ......

p. 31-35 Rembrandt, Van der Helst

... only have been a pupil of Rembrandt around the time when the master, who had broken with the world after his misfortunes in 1656, surrendered more than ever to the fervor of his talent.200The painting is in portrait format; the life-size figures are cut off at the knees. The tone is stunning, but the middle tones have darkened somewhat.This Drost is very little known and very rare. The Paris catalog does not list him among the pupils and ......

... gi from Mr. Thomas Baring's gallery in London [28], which instead of being a repetition by Rembrandt himself of his Adoration of the Magi at Buckingham Palace [29] as is assumed, was instead painted by Drost in Rembrandt's studio and with Rembrandt's ...------(1) The new cat. knows no more than the old one, listing Drost's name without any date or information.(2) This is a Magdalena, catalog no. 379, which includes Drost's name, with no further information, but preceded by two N.N.'s instead of Smith's two R.R.'s.204...

... t comes from the old City Hall, where it adorned the large Room of the Council of War, opposite the Colonels' seat,208 and like the Night Watch and the Syndics, it belongs to the city of Amsterdam itself.The scene takes place in the antechamber of the doele of St. George (St. Joris Doele).209 Captain Cornelis Jan Wits or Witsen,210 lieutenant Johannes van Waveren211 and their company of arquebusiers and crossbowmen are gathered there for a banquet in honor of peace.On the right side of the large table spanning the ...------(1) The new cat. devoted three pages to it, with all the necessary details.(2) The new cat. ...

... : pearl-grey doublet and breeches, decorated with gold;214 blue sash, green stockings, cauldron boots215 and spurs. His black hat has brown feathers.Behind them are three men, one of whom, with his body in profile and his head in a three-quarter position, holds his gray hat with large tricolored feathers in his left hand; a fourth wears a halberd; in the background comes a maid with a large pie bearing the shadow of a turkey.At the other corner of the table, on the left side of the painting, a few seated guests are drinking and several standing men armed with muskets are talking in front of an arcade that connect...

... pectfully presents him with a magnificently sculpted hanap.221 This old cupbearer has a gray beard and hair; on his black silk doublet, trimmed with yellow,222 rests a large collar; red sash around his waist, yellow stockings.223------(1) Here is the translation: “Blood is repugnant to Bellona and yes Mars curses the thunder/ of the pregnant metal. And the sword loves the scabbard./ That is why the brave Wits presents the noble Van Waveren with the horn of peace, to celebrate the perpetual alliance.” – See the article on Van der Helst by Scheltema, in Revue universelle des Arts, t. V, p. 203.224...

p. 146-150 Poelenburg, Lairesse, Van der Werff, the Landscapists

... wo "Symbolic compositions" in grisaille;111 – and "Seleucis surrenders his wife and scepter to his son Antiochus" [231].112Three masterpieces by Adriaan van der Werff:1. A life-size bust of Adriaan himself. He is draped in a cloak of red velvet, over a yellow doublet. Around his neck hangs a chain with a medal from his patron, the Elector of the Palatinate. In his left hand, his palette and ......

... herries from a branch held by Joseph. The latter person is on the farther side of the Virgin, partly concealed in shadow; two ...------(1) There is an allegorical painting by Van der Werff in the Munich Museum, in which a genius crowns the portraits of the Prince Palatine, and in which the muse of painting holds in her hand the painter's own portrait.115(2) The new cat. adds: auction Lormier, 1763, 1,305 guilders. This painting was listed in the Lormier catalog as by Adriaan and Pieter....

... landscape with two figures; signed: Chev vd Werff fc 1718.117Next: Psyche and Cupid, in the style of ...

... 8 Only two landscapes by Jacob [240] [241].129 No Hobbema!130 The Hague Museum has none either; the Rotterdam Museum has only a small one.131 The Van der Hoop Museum has two.132But private collections have some wonderful specimens.One of the Ruijsdaels depicts wild, mountainous country, with a waterfall in the foreground cascading between rocks and broken tree trunks. A shepherd and his flock walk along a rough road on the slope of a hill. On the left, at the top ......

... te: Rùisdael, the vertical style of the R ending in the J and with the small v of van connected. Because the real name is Van Ruisdael or Ruijsdael, since we find this v almost always in the signatures and monograms of the two brothers. It is sometimes even more important than the s in Salomon's signatures.134Aldert van Everdingen would have influenced Jacob Ruijsdael, who was younger than him. Indeed, when they painted similar regions, northern lands, they bear some res...

p. 126-130 Metsu, Philips Wouwerman

... 26 MUSEUM OF AMSTERDAM.... nothing. This man is perfectly happy. Above the barrel, a pitcher of ston...

... ing up all those in museums and private collections. The Van der Hoop Museum has only three; the Hague Museum has nine, as does the Amsterdam Museum; the Rotterdam Museum has three.18 This is barely a third of the number in Dresden! Smith has catalogued 522 of Wouwerman's nearly one thousand paintings.19The unfortunate thing is that our nine Wouwermans in the Amsterdam museum – the number is nevertheless fortunate – are not of the quality of the thirteen – the ......

... , the fighting continues: the soldiers flee, pursued from all sides. Signed with the full double monogram, with the last S of Philips, turned around the second style of the H.– H. 1 foot 10 inches; w. 2 feet 6 inches. On canvas. Auction Dornburgh, The Hague, 1745, with pendant, 1,400 guilders; Van der Pot, 1808, 3,625 guilders."No. 331. A heron hunt" [198].24 This one had passed into famous collections: Choiseul, 1772, 3,000 francs; Prince de Conti, 1779, 2,700 francs; ......

... e is a fairground. Despite its size, 2 feet high and 2 feet 8 inches wide, only 600 guilders was paid for this painting at the Van der Pot auction: signed as the previous one." No. 333. A peasant with a white horse"[201].28 This is an excellent example by the master. The white horse, ridden by a rider, stands in the center; with a jerk, he has just knocked over a woman carrying a basket of apples; another rider, on a dark brown horse, gallops to the left under tal...

... lips: A ruined rural house [205].34By Van Huchtenburgh, a pupil of Philips, in the second degree: A Cavalry Fight.35I add here, because I don't know where else to classify it: a Waiting Room with Soldiers, by Jan Le Ducq [206].36 This ...------(1) In the facsimile of the new cat. the signature is rather unusual: the first monogram of the first name, formed by the P and the H, is followed by a p, before Philip's second p; then comes the usual W....

p. 1-5

... ...

... a.80270 Ruijsdael absolutely Everdingen81242. Potter to be authenticated.82The sign. of van der Meer de jonge no. 189??83367 Ph Wouwerman First manner.84The de Vois of Steingracht is the same as 349 Amsterdam.85234. Not Italian. Painted by a Fleming.86...

... ouse of this Trip.88Van der Heyden painted a view of this home of Trip, with the old Market and the public Wei...

... re exhibited in the various rooms of the City Hall. The main six of these paintings are now in the museum;97 the other municipal paintings have been crammed into the new City Hall,98 which is too small for so many treasures.The building in which the museum is housed is not worthy of its ......

... is Amsterdam, c. 1855-1860Amsterdam, Rijksmuseum, inv. no. RP-F-1999-140-4...

... the Syndics, by Rembrandt [6], the Regents, by Karel du Jardin [7], large portraits, etc. On the third floor are four or five other rooms, also with side windows, and they are even lower. There is no space, and there is no light; and besides the fact that the paintings are poorly placed and poorly lit, they are always covered with a mist, due to the humidity; so that one can only see them under a veil and in shadow!The museum is supposed to be managed by a committee ......

... just appeared – that finally does justice to the importance of the Amsterdam museum. This catalog is based on the Paris catalog and, like the Vienna one, contains facsimiles of the signatures that I myself had so meticulously noted.110 My comments and criticisms of the old catalog are therefore no more than a memory, which will make this new publication by the Amsterdam commission all the more valuable.111 I regret, however, that I did not have time to change certain passages in my book. Since it was impossible to overturn my entire typographical structure, I decided to leave…...

... I am pleased, moreover, that the compilers of the catalog have made good use of my critical remarks, which I had forwarded to Mr. Engelberts, and that the new catalog vindicates me on the false Van Balen, now attributed to Van der Venne in accordance with my indications, on the false Van Eycks and the false Brouwers, which have disappeared, and on a large number of points which I shall mention in notes in the course of this book.113...

... for example, Rembrandt, Van der Helst and the painters of large compositions; Gerard Dov and the fine painters who worked in small format; Adriaan van Ostade, Jan Steen and the painters of popular and comic mores; Terburg, Metsu and the painters of elegant mores; Aalbert Cuijp and the painters of animals; Jacob Ruijsdael and the landscape painters; Willem van de Velde and the marine painters, etc. This is an entirely arbitrary classification; but the strictly ......

Front matter & introduction

... Why should someone signing with W, the initial of William, be called Guillaume?This reform can hardly be applied to Italians naturalized as French citizens, but it is quite possible with the artists of the northern schools of painting.Paris. – Imprimerie de P.– A. Bourdier et Cie, 30, rue Mazarine....

... ISVE JULES RENOUARD, LIBRAIRE-ÉDITEUR6, RUE DE TOURNONIN BRUSSELS, WITH FERDINAND CLAASSEN88, RUE DE LA MADELEINE1858All righ...

... erature, their science, their philosophy, their religion and even their politics.25 The origins of all these fields are in Italy; both if we rely on our feelings and our minds, we must delve into this brilliant and fertile society, a society that still lives on, barely transformed, in modern European countries.Thus, it came about, strangely enough! that, until recently, every people, even thos...

... 26 In France we know the Italian xvith century by heart, we know names and dates, biographies, and iconography, but ...

... ition to the painters from the Upper Rhine to Basel, the painters from the Lower Rhine to Leiden, those from Utrecht and Haarlem, those from Antwerp and Bruges; in short, they deal with all the painters from the entire Hollando-Flemish country (the old Seventeen Provinces) bordering the North Sea.Those curious about this beginning of Dutch art can browse studies by Germans, some Belgians, some ......

... ainter, musician, poet, litterateur and linguist all in one, marks rather well the transition between the first period, when the Hollanders rallied around the Van Eycks, and the second period, when they crossed the Alps where they will deform themselves.38When the emigration to the south became widespread, art in Holland, Flanders and Germany all disappeared together in a banal pastiche of the Italians. There ......

... Europe, as the young American society, Protestant and democratic, is today.The topographical conditions of Holland help shed light on this extraordinary phenomenon. In these low countries, – 41 hol land, the word says it all, – composed of islands and peninsulas, polders and marshes, almost floating on the sea or incessantly undercut by the sea, barely attached to the continent, – people felt at ease, once all religious and political authorities had been driven away, to do as...

... s, churches, schools, stock exchanges, markets, hospices for orphans and the aged, and a thousand buildings for its militia, its scientific societies and its guilds. Everything dates from that time, not only its great sailors and citizens, but also its great poets and painters.It is not surprising, therefore, that the Dutch school of painting of the xviith century, which suddenly emerged in such exceptional circumstances, no longer shows any kinship with the schools of painting of the South, which remained Catholic ......

... forms of art up to that time, where some form of traditional orthodoxy was adhered to, were bound to oppose Dutch originality; sometimes they argued that the Dutch were ignorant or did not know the rules, sometimes their art was called of a low level and even immoral, sometimes of a senseless fantasy, sometimes of a crude naturalism; some did so in the name of Apollo, others in the name of Christ, others ......

... of painting, to which Italian rules are foreign, and which has the audacity to interpret nature with a certain feeling, should be characterized with sovereign contempt. Fortoul in particular has beautifully articulated this mystagouric antipathy to the very human naturalism of the Dutch school.46(2) Paris, Ve J. Renouard, 240 episodes.47(3) Michiels, in his Histoire de la peinture flamande et hollandaise, stops after his study of the early schools: ......

... n from Descamps,50 some stories ‘to sleep standing’!51 Not one line of interest to history! – the appreciation of Rembrandt is fairly appropriate.On Stuerbout, see Antwerp catalogue52 and Van Even, on the two pictures at Louvain, formerly attribute...

... bicon.56 But he did not cross it. However, he did write some pages about the museums of Holland based on Lamme's notes, Lamme, brother-in-law of Messrs. Ary and Hendrik Scheffer, is I believe curator of the museum of Rotterdam.57Maxime Ducamp, in his Letters from Holland, published by the Revue de Paris (October 1857), also commented very briefly on the museums of Amsterdam and The Hague.58 In the course of this publication I will quote some of his remarks....

... tudies cannot be made according to a regular and well-proportioned plan. They must emphasize what precisely little is known, and ignore what is better known, by doing almost the opposite of what historians do, who lay down the material that has already been carved and chiseled, leaving the formless blocks and obscure details in the shadows.59We must focus on masters whose biography or talent needs new elucidation, such as Rembrandt, Jan Steen, Paul Potter, Metsu and others; on masters whose character we cannot guess because we have neve...

... sterdam Town Hall, to which even 6 of the most important paintings exhibited in the museum belong,63 has about 300 paintings! most of them hidden in attics or behind furniture and piles of chairs. There are Van der Helsts, Govert Flincks, Jacob Backers, Frans Hals, and the whole great school of the xviith century, with historical and civic representations. J. van Dijk had once published…....

... the country itself, the customs of the people, its history and present life; for art cannot be understood without nature and people.Now I am publishing the two most important museums; ...------… a description of them when they adorned the old City Hall, now the Palace, on Dam Square.65 The indefatigable Amsterdam archivist, Mr. Scheltema, I believe, has just made a kind of catalog of them, which has remained manuscript.66...

... #x27;s heyday so that others can appreciate them as well.Perhaps this volume on the museums of Amsterdam and The Hague will be followe...

5a. Apelles schildert Campaspe, particuliere collectie

... Lijkt op 46 MH/12 BC11. Daniël Seghers, Bloemstilleven, Bamberg, Staatsgalerie in der Neuen Residenz = 21 MH/= 9 BC12. Peter Neefs I, Kerkinterieur, verblijfplaats onbekend = 10 MH13. Bernard van Orley (en atelier), Fragment van een kruisiging, Leipzig, Museum der Bildenden Künste = 36 MH/= 18 BC14. Correggio, Slapende Venus en Cupido bespied door een sater, Parijs, Musée du Louvre = 37 MH/= 17 BC15. Peter Paul Rubens, Bacchantische scène met ‘dromende Silenus’, Wenen, Akademie der Bildenden Künste = 38 MH/= 15 BC...

... idse van Vulcanus, verblijfplaats onbekend = 12 RH/= 14 MH/= 5 BC22. Frans Snijders, Jachtstilleven met dode zwaan, Warwick, Charlecote Park = 1 MH/= 1 BC/= 5 JP23. Marcantonio Raimondi (naar Rafaël), Het oordeel van Paris(gravure) = 17 MH/= 27 BC24. Willem van Haecht, Danaë, verblijfplaats onbekend (rechtsonder G.V.Haecht 1628) = 43 RH25. Quinten Massijs, Portret van een geleerde, Frankfurt, Städel Museum = 33 RH/= 29 MH26. Niet te ide...

3a. Kunstkamer met Anthony van Dycks ‘Mystieke huwelijk van de H. Catharina’, Mount Stuart, Bute Collection

... met een zwaard, verblijfplaats onbekend = 2 RH/= 25 MH/= 27 PC ook afgebeeld op Jan Brueghel (I) en Peter Paul Rubens, Allegorie van het zicht, Madrid, Museo Nacional del Prado12. Gillis Mostaert (I), Het uitmoorden en verwoesten van een stad door soldaten, Moskou, particuliere collectie Lijkt op 46 MH/10 PC13. Michiel Cocxie (mogelijk), Het visioen van de heilige Petrus, verblijfplaats onbekend = 24 RH14. Anoniem, Berglandschap met een waterval, verblijfplaats onbekend = 33 MH/= 7 JP/= 17 PC15. Peter Paul Rubens, Bacchantische scène met ‘dromende Silenus’, Wenen, Akademie der Bildenden Künste = 38 MH/= 15 PC...

... 8 RH24. Paul Bril, Zuidelijke berglandschap met herders en hun kuddes, Parijs, Musée du Louvre = 7 MH25. Joachim Beuckelaer, Marktscène in een havenstad, verblijfplaats onbekend = 20 MH26. Anthony van Dyck, Het mystieke huwelijk van de heilige Catharina, Windsor, Royal Collection - Windsor Castle27. Marcantonio Raimondi naar Rafaël, Het oordeel van Paris (gravure) = 17 MH/= 23 PC28. Anoniem, ongeïdentificeerde voorstelling (roodkrijttekening), verblijfplaats onbekend29. Hans Rottenhammer, Venus en Cupido, verblijfplaats onbekend = 37 RH/= 12 MH/= 7 PC30. Anoniem, ongeïdentificeerde voorstelling, verblijfplaats onbekend...

... 5 MH (schapen in de voorgrond verschillen)33. Anoniem, Het offer van Isaak, verblijfplaats onbekend = 44 MH34. Anoniem, Mansportret, verbl...