RKD STUDIES

2.3 1610-1612 sterkere eigenheid

... groter formaat dan De huwelijksnacht van Tobias en Sara, maar de verschillen in de mate van ondertekening zijn aanzienlijk. Het eerste schilderij is namelijk veel gedetailleerder ondertekend dan het tweede (afb. 1, 33, 34). Waarschijnlijk hangt dit samen met het feit dat de figuren in Detroit meer op de voorgrond zijn weergegeven dan op het paneel te Boston. De manier waarop de punten van het tafelkleed zijn ondertekend of de veranderingen in de voeten bij het uitwerken in verf, tonen echter duidelijke overeenkomsten. Dat het bij de ondertekening in beide gevallen slechts een voorlopige stap in het creatieve proces betreft, blijkt uit wijzigingen gedurende het schilderproces. In De huwelijksnacht van Tobias en Sara zijn ze wel iets bescheidener in aantal en omvang dan in David geeft Uria de brief.De ondertekening in De wegzending van Hagar en Ismaël sluit wat betreft de ondertekening en uitwerking ervan in verf aan bij die op de andere werken uit deze jaren (afb. 35).81 Hetzelfde geldt voor Jozef deelt koren uit in Egypte, maar naast de vele wijzigingen ten opzichte van de ondertekening die de vormen corrigeren, komt hier tevens een ingreep voor die de compositie beïnvloedt. IRR laat bij het basement van de zuil links een oude man met baard zien die de ezel berijdt (afb. 36). Deze figuur was niet alleen ondertekend, maar ook al in verf aangelegd toen werd besloten hem volledig aan het oog te onttrekken. Wellicht omda...

Voorwoord

... rking.Voor overige werken van Lastman was ondersteuning vanuit het internationale museale veld onmisbaar. Van Boedapest tot Londen, van Braunschweig tot San Francisco, van Jeruzalem tot München, op circa twintig locaties werden ten behoeve van het project schilderijen met infraroodreflectografie (IRR) en infraroodfotografie (IR) onderzocht. Ook werd bestaand (foto-)materiaal ter beschikking gesteld. Buiten Nederland participeerden tussen 2021 en 2023 onderstaande collega’s in het project:Katja Kleinert, Berlijn, Gemäldegalerie, Staatliche Museen zu BerlinBabette Hartwieg, Berlijn, Gemäldegalerie, Staatliche Museen zu BerlinDagmar Hirschfelder, Berlijn, Gemäldegalerie, Staatliche Museen zu BerlinJúlia Tátrai, Boedapest, Szépmüvészeti MúzeumAndrás Fáy, Boedapest, Szépmüvészeti MúzeumChristopher D.M. Atkins, Boston, Museum of Fine Arts BostonSilke Gatenbröcker, Braunschweig, Herzog Anton Ulrich-MuseumHildegard Kaul, Braunschweig, Herzog Anton Ulrich-MuseumVerena Herwig, Braunschweig, Herzog Anton Ulrich-MuseumJulia Tholen, Bremen, Kunsthalle BremenTanja Borghardt, Bremen, Kunsthalle BremenChassica Kirchhoff, Detroit, Detroit Institute of ArtsEllen Hanspach-Bernal, Detroit, Detroit Institute of ArtsAaron Steele, Detroit, Detroit Institute of ArtsLizzie Marx, Dublin, National Gallery of IrelandBrendan Rooney, Dublin, National Gallery of IrelandSimone Mancini, Dublin, National Gallery of IrelandMuirne Lydon, Dublin, National Gallery of IrelandRoy Hewson, Dublin, National Gallery of IrelandKathrin DuBois, Düsseldorf, Museum KunstpalastHanna Bahr, Düsseldorf, Museum KunstpalastInken Holubec, Düsseldorf, RED – Restaurierungszentrum DüsseldorfTico Seifert, Edinburgh, National Galleries of ScotlandLorraine Maule, Edinburgh, National Galleries of ScotlandLesley Stevenson, Edinburgh, National Galleries of ScotlandSandra Pisot, Hamburg, Hamburger KunsthalleSilvia Castro, Hamburg, Hamburger KunsthalleUrsula Trieloff, Hamburg, Hamburger KunsthalleShlomit Steinberg, Jeruzalem, Israel MuseumSharon Tager, Jeruzalem, Israel MuseumYael Barschak, Jeruzalem, Israel MuseumHolger Jacob-Friesen, Karlsruhe, Staatliche Kunsthalle KarlsruheNele Bordt, Karlsruhe, Staatliche Kunsthalle KarlsruheAnne Haack Christensen, Kopenhagen, SMK - National Gallery of DenmarkLoa Ludvigsen, Kopenhagen, SMK - National Gallery of DenmarkRachel Billinge, Londen, The National GalleryBart Cornelis, Londen, The National GalleryClaudia Thwaites, Londen, The National GalleryAnne Woollett, Los Angeles, J. Paul Getty MuseumDevi Ormond, Los Angeles, J. Paul Getty MuseumKendall Francis, Los Angeles, J. Paul Getty MuseumLeah Lehmbeck, Los Angeles, LACMA, Los Angeles County Museum of ArtElma O’Donoghue, Los Angeles, LACMA, Los Angeles County Museum of ArtJoe Fronek, Los Angeles, LACMA, Los Angeles County Museum of ArtYosi Pozeilov, Los Angeles, LACMA, Los Angeles County Museum of ArtBernd Ebert, München, Alte Pinakothek, Bayerische StaatsgemäldesammlungenJens Wagner, München, Doerner Institut, Bayerische StaatsgemäldesammlungenHans Buijs, Parijs, Fondation Custodia – Collection Frits LugtHélène Mourier, Parijs, Art AnalysisEmily A. Beeny, San Francisco, Fine Arts Museums of San FranciscoElise Effmann Clifford, San Francisco, Fine Arts Museums of...

Bibliografie

... red.), Exposition Générale des Beaux-Arts. Catalogue, tent.cat. Brussel 1893...

... red.), World’s Columbian Exposition. Official catalogue, part X, art galleries and annexes, tent.cat. Chica...

... an het kunstacademische conventionalisme’, in: J. Pas (red.), N. Dockx en E. de Bruyn, Contradicties: Koninkli...

... red.), Jules Adler 1865-1952. Peindre sous la Troisième République, tent.cat. Dole (Musée des Beaux Arts de...

... red.), Edelfelt Pariisissa, tent.cat. Turku (Turku Art Museum) / Vaasa (Tikanoja Art Museum) 2001, pp. 58-75...

... red.), Nederlanders in Parijs 1789-1914. Van Spaendonck, Scheffer, Jongkind, Maris, Kaemmerer, Breitner, Van Gogh, Van Dongen, Mo...

... erik Hendrik Kaemmerer’, in: F. Nerlich en E. Vratskidou (red.), Disrupting Schools. Transnational Art Education in ...

4.4 De havenstad Londen

... rijse stadsgezichten en de haven van Le Tréport (Haute-Normandie), alle met een meer documentair karakter. Een 1883 gedateerd schilderij toont rommelige aanlegplek met een stoomboot midden in de Theems bij Londen [2]. Op de achtergrond zijn de pakhuizen met daarvoor de vrachtschepen weergegeven. Ook dit werk heeft een beschrijvend karakter. Ten Cate zoomt in op de bedrijvigheden in de rivier. Wapperend in de wind zien we aan de roeiboot en de raderboot Red Duster, de rode vlag met in de hoek de Union Jack die de Britse koopvaardij- en passagiersschepen voerden. Bij verdere beschouwing zien we in het water tussen de roeiboten de hoofden van zwemmers boven het water steken.266 Al deze bedrijvigheden werd door Ten Cate nauwkeurig geobserveerd en vastgelegd. In de loop der jaren bleef hij naar Londen terugkeren. Het precieze, meer beschrijvende element in zijn werken maakte daarbij plaats voor bredere str...

Paintings

... (‘Portret van een jongeling (1644); vermoedelijk zelfportret. Eigend. Galerie v. Diemen & Co., ’s-Gravenhage’).Self-portraitSupport and dimensions unknownEstate inventory of Maria van Rommerswael, widow of Godschalck van der Hulst, Dordrecht (2 April 1674), lists ‘Samuel van Hoogstraten syn eygen contrafeytsel veels grooters als 't leven’; inventory of goods left in safekeeping by the painter Pieter van der Hulst with François van Quackelsteyn, Amsterdam (30 September 1674), lists ‘No 4: Een van Samuel van Hoogstraeten’.Roscam Abbing 1993: V18; Brusati 1995: D1; Blanc 2008: P51.Double portrait of Samuel van Hoogstraten and Sara van BalenSupport and dimensions unknownSale Guérin et al., The Hague, 13 September 1740 (Lugt 525), no. 94 (‘Twee fraaije Pourtraitjes, zynde S. van Hoogstraten en zyn vrouw, door hem zelfs geschildert’); genealogical notes by François van Hoogstraten, dated 1756, state ‘Zijn afbeelding, als ook die van zijn huisvrouw Sara Balen, door hem zelf gedaen, in een stuk’According to Brusati 1995, the painting was presumably kept in the artist’s personal collection and was later owned by his great-nephew, Samuel van Hoogstraten (1692–1759). Mentioned in the RKD's IB documentation, no. 15129(1) and no. 15129(2). According to the RKD’s IB documentation, the portraits of Samuel van Hoogstraten and Sara van Balen form a double portrait, rather than two separate works and a double portrait, as described by Brusati 1995 and Blanc 2008.Roscam Abbing 1993: V43; Brusati 1995: D2 & D3 & D4; Blanc 2008: P50 & P52 & P70.Portrait of Matthijs van BalenSupport and dimensions unknown, grisaille, dated 1677Will of Matthijs Balen states ‘Alsnoch verclaerde hij testateur gemaeckt ende geprelegateert te hebben sulcx hij doet by desen aenden voorss Johan Balen sijns testateurs soon het contrefeitsel van hem testateur van omber en wit geschildert door S.V.. in t jaer 1677’.Based on this portrait, Romeyn de Hooghe made an engraving (Hollstein Dutch & Flemish 1949-2010, vol. 9, p. 143, no. 5). A sketch for De Hooghe’s engraving, from the collection of Mr. P.W.A. Cort van der Linden, was exhibited in 1924 (Pictura Dordrecht 1924, no. 30).Mentioned in the RKD's IB documentation, no. 332.Roscam Abbing 1993; Brusati 1995: 41; Blanc 2008: P61.Portrait of Alida van BeverenSupport and dimensions unknownAccording to Roscam Abbing 1993, p. 96, the existence of a portrait of Alida van Beveren, painted by Samuel van Hoogstraten, is uncertain: ‘Een door SvH geschilderd portret van Alida van Beveren, met wie Cornelis Pompe van Meerdervoort in 1662 gehuwd was, is niet aanwijsbaar’.Mentioned in the RKD's IB documentation, no. 9760.Roscam Abbing 1993: V42; Blanc 2008: P85/2.Portrait of Cornelis van BeverenSupport and dimensions unknownGodfried Schalcken created an etching after this painting by Samuel van Hoogstraten, as stated on the print (Hollstein Dutch & Flemish 1949-2010, vol. 24, p. 153, no. 2).Blanc 2008: P53.Portrait of Christina Elisabeth de Bevere Support and dimensions unknown, c. 1676-77Veth 1889, p. 140 states that the estate inventory of Johan Diederik Pompe van Meerdervoort, Dordrecht (1749) lists the portrait of Christina Elisabeth de Bevere, wife of Cornelis Pompe van Meerdervoort: ‘De vervaardiging der portretten van Cornelis Pompe van Meerdervoort en zijne echtgenote [..] welke in den inventaris der nalatenschap van Johan Diederik Pompe van Meerdervoort vermeld worden, werden waarschijnlijk in deze tijd [c. 1675] vervaardigd.’ The original document is lostMentioned in the RKD's IB documentation, no. 106213.Roscam Abbing 1993: V42; Blanc 2008: P85/3.Portrait of Egbert van BraeckelSupport and dimensions unknownEstate inventory of Abigael van Braeckel, widow of Hendrick van Wege and Ghijsbrecht van Hogenhouck, Delft (1675). The original document is lost but cited in Veth 1889, p. 147: ‘'t Conterfeitsel van Egbert van Braekel’.Roscam Abbing 1993: V20; Brusati 1995: D17; Blanc 2008: P86/5.Jacob Cats and his wife at ZorgvlietCanvas, 69 x 95 cmJ.I. de Neufville Brandts; his sale, Amsterdam, 23 March 1829 (Lugt 11974), no. 21 (‘De beroemde Jacob Cats, benevens zijne Echtgenoote, voorgesteld op de hofstede Zorgvliet, waarvan het huis zich achterwaarts opdoet; dit belangrijke stuk is uitnemend van toon en behandeling. Hoog 1 el, breed 1 el 3 p. 2d. Doek’), fl. 60.- to De Vries; sale Amsterdam, 24 April 1838 (Lugt 15035), no. 19 (‘Dit kapitaal stuk verbeeldt de buitenplaats Zorgvliet, buiten 's Gravenhage, waar de familie van Jacob Cats zich op den voorgrond bevindt, en waarin hij eene tulp aan eene dame aanbiedt; krachtig en waardig den leerling van Rembrandt geschilderd. Hoog 1 el, breed 1 el 3 p. 1 d. Doek'), fl. 109.-, to Enthoven.Roscam Abbing 1993and Brusati 1995suggest that the aforementioned catalogue entries might refer to a painting now in the collection of the Dordrechts Museum. However, the dimensions do not match, and the painting in Dordrecht does not depict Jacob Cats or Zorgvliet. Roscam Abbing 1993: 6; Brusati 1995: D11; Blanc 2008: P72.Portrait of N.N. Deijlman Support and dimensions unknown, dated 1658 Landscape format (according to the RKD's IB documentation, no. 82806).Jan Michielsz. Deijlman and his Mennonite family Support and dimensions unknown, dated 1658Painted for Deijlman and bequeathed to his wife, Elisabeth Johans de Guldehoef van Laekervelt, who's last will and testament (21 February 1672) states: ‘De schilderije ende contrefeijtsel van mijn waerde man sal. ende familie door S. van Hoochstraten in de jare 1658 gemaekt …’ Roscam Abbing 1993: V16; Brusati 1995: D10; Blanc 2008: P74.Portrait of Ghijsbrecht van Hogenhouck and Abigael van BraeckelSupport and dimensons unknownEstate inventory of Abigael van Braeckel, widow of the late Hendrick van Wege and the late Ghijsbrecht van Hogenhouck, Delft (1675) lists ‘Het conterf[eitsel] van Mr. Ghijsbrecht van Hogenhouck ende Abigael van Braekel’. The original document is lost but cited in Veth 1889, p. 147.Roscam Abbing 1993: V20; Brusati 1995: D13; Blanc 2008: P86/1.Portrait of Ernst van HogenhouckSupport and dimensions unknownEstate inventory of Abigael van Braeckel, widow of the late Hendrick van Wege and the late Ghijsbrecht van Hogenhouck, Delft (1675) lists ‘De conterfeitsels van Ernst en Jacobus van Hogenhouck’. The original document is lost but cited in Veth 1889, p. 147.Roscam Abbing 1993: V20; Brusati 1995: D15; Blanc 2008: P86/3.Portrait of Jacobus van HogenhouckSupport and dimensions unknownEstate inventory of Abigael van Braeckel, widow of the late Hendrick van Wege and the late Ghijsbrecht van Hogenhouck, Delft (1675) lists ‘De conterfeitsels van Ernst en Jacobus van Hogenhouck’. The original document is lost but cited in Veth 1889, p. 147.Roscam Abbing 1993: V20; Brusati 1995: D16; Blanc 2008: P86/4.Portrait of François van HoogstratenSupport and dimensions unknownAccording to Roscam Abbing 1993, an undated letter or copy of a letter (ca. 1724–1736) from François van Hoogstraten (1689–1760) to his brother Samuel (1692–1759) mentions ‘Zijn portrait, van Samuel geschilderd en ook dat van zijn vrouw [Hester de Koning], berusten onder mij, zijnde eerstelingen van Samuels schilderkonst, niet fraij’ Mentioned in the RKD's IB documentation, no. 77225.Wolleswinkel 1980, p. 89; Roscam Abbing 1993: V40; Brusati 1995: D5; Blanc 2008: P87/1.Portrait of Hester de KoningSupport and dimensions unknownAccording to Roscam Abbing 1993, an undated letter or copy of a letter (ca. 1724–1736) from François van Hoogstraten (1689–1760) to his brother Samuel (1692–1759) mentions ‘Zijn portrait, van Samuel geschilderd en ook dat van zijn vrouw [Hester de Koning], berusten onder mij, zijnde eerstelingen van Samuels schilderkonst, niet fraij’Mentioned in the RKD's IB documentation, no. 77226.Wolleswinkel 1980, p. 89; Roscam Abbing 1993: V40; Brusati 1995: D6; Blanc 2008: P87/2.Portrait of Abraham MoyweerSupport and dimensions unknownPainting mentioned in an archival document, dated 12 June 1676: ‘Syn testateurs pourtret [of Abraham Moyweer], ten huyse van zyn swager Nicolaes de Both sal werden gecopieert door den heere Samuel van Hooghstraten mr. fijnschilder alhier tot kosten van syn testateurs boedel en dieselve copije moesten worden vereert aan juffr. Johanna Cools (indine zij se bewaren wil).’ See Roscam Abbing 1993, pp. 76, 92.Roscam Abbing 1993: V24; Blanc 2008: P60.Portrait of Princess Juliana Catharina van Nassau PortugalSupport and dimensions unknownPainting mentioned in a letter from Princess Juliana Catharina van Nassau Portugal to her sister Eleonora Maurice, Bergen op Zoom (21 February 1671) states ‘Le peintre Hoochstraten qui a peint tous nos portraiets s’en retourne en Engleterre pou y demeurer ...’ (Roscam Abbing 1993, pp 68-69).Mentioned in the RKD's IB documentation, no. 91738.Roscam Abbing 1993: V13; Brusati 1995: D11; Blanc 2008: P82/1.Portrait of Margrieta de RouwSupport and dimensions unknown Estate inventory of Margarieta de Rouw, widow of Johan Palm, Dordrecht (1 June 1671), lists ‘Int voorhuys: een groote schilderije waerinne de overledene sittende geschildert is van Hoochstraten [in the margins:] gecost bij Sr. Stephanus de Rouw om 34 gl.’Mentioned in the RKD's IB documentation, no. 96796.Roscam Abbing 1993: V14; Brusati 1995: D20; Blanc 2008: P68.Family portrait of Cornelis Terwe and his wife Segrina Lodewijksdr, accompanied by their children, Lodewijk, Jannetje, and Elisabeth Support and dimensions unknown, dated 1661Not to be confused with another portrait of Cornelis Terwe, his wife Segrina Lodewijksdr, and their son Lodewijk.Mentioned in the RKD's IB documentation, no. 107259.Roscam Abbing 1993: 45; Brusati 1995: D18; Blanc 2008: P77.Portrait of Maximilian von Trautmannsdorff Canvas. 108 x 82 cm, signed and dated 1651Private collection, Opocno (Czech Republic). According to Blanc 2008, the painting was mentioned in Czechoslovakia around 1962, with a note identifying the sitter’s city of origin.Blanc 2008: P55.Portrait of Admiral TrompCanvas, 90 x 71 cmA. Bredius; sale Amsterdam, 29 July 1890 (Lugt 49316), no. 50 (‘Portret van Admiraal Tromp. Doek Hoog 90, Breed 71 cent.), fl. 150.-, to Bredius.Mentioned in the RKD's Hofstede de Groot index cards.Portrait of Jacob Lodewijcxs Verbeeck Support and dimensions unknownWill of Sebilla Vorstius, wife of Jacob Lodewijcxs Verbeeck, Leiden (13 December 1650) lists ‘De twee conterfeijtsels van haer en haer comp[aran]tens man gemaect door Hoochstraete’.Mentioned in the RKD's IB documentation, no. 8347.Roscam Abbing 1993: V3; Brusati 1995: D9; Blanc 2008: P81/1.Portrait of Sebilla VorstiusSupport and dimensions unknownWill of Sebilla Vorstius, wife of Jacob Lodewijcxs Verbeeck, Leiden (13 December 1650) lists ‘De twee conterfeijtsels van haer en haer comp[aran]tens man gemaect door Hoochstraete’.Roscam Abbing 1993: V3; Brusati 1995: D8; Blanc 2008: P81/2.Portrait of Hermannus WillinkSupport and dimensions unknownEstate inventory of Abigael van Braeckel, widow of the late Hendrick van Wege and the late Ghijsbrecht van Hogenhouck, Delft (1675) lists ‘Het conterf[eitsel] van Hermannus Willink’. The original document is lost but cited in Veth 1889, p. 147.Mentioned in the RKD's IB documentation, no. 9120.Roscam Abbing 1993: V20; Brusati 1995: D14; Blanc 2008: P86/2.Large painting (subject unidentified)Support and dimensions unknownEstate inventory of Maeycken Jans van Oldenzeel, widow of Frans Cornelisz Mol, sexton of the Grote Kerk in Dordrecht, Dordrecht (13 December 1698) lists ‘Int voorhuijs: Een groot schilderye bij Hoogchstraten gedaen’.Roscam Abbing 1993: V34; Brusati 1995: D58; Blanc 2008: P191.Piece by van Hoochstraten (unidentified subject)Support and dimensions unknownEstate of Cornelis de Putter, wine merchant, The Hague ( October 1668) lists ‘Een stuk van Hoochstraten treckgelt 3-3-0 bij den adt. Vanden Broeck getrocken op 180 £ opgehouden op 200 £’.Roscam Abbing 1993: V11; Brusati 1995: D56; Blanc 2008: P189.Painting by von Hachstratten (unidentified subject)Support and dimensions unknownAccording to Roscam Abbing 1993, pp. 47, 90, the treasury account books of the Imperial Court Archive, Vienna (20 July 1654) mention ‘Den 20 dito Samueln von Hachstratten wegen aines für ihrer khay. mt. dargebnen bilts ... 150 fl’.Roscam Abbing 1993: V6; Brusati 1995: D55; Blanc 2008: P188.Painting (unidentified subject)Support and dimensions unknownEstate inventory of Geertruyt Absouw, wife of Pieter van der Werff, Dordrecht (24 April 1675), lists ‘Een van Hoochstraten 8-0-0’.Roscam Abbing 1993: V21; Brusati 1995: D57; Blanc 2008: P190....

Drawings

... ies), no. 161 (‘Interior with figures. Sketch depicting the interior of a high-ceilinged room, peopled with a mother and children, a woman sitting and reading, and a figure washing. (Greene) Pen and ink on blue paper: 5 ¼ x 7 inches’).Blanc 2008: D182Writing student by a windowPen and ink, washes in bistre, 460 x 365 mmM. le Chevalier de Claussin; his sale, Paris, 2 December 1844 (Lugt 17528), no. 39 (‘L’écolier. La tête couverte d’un chapeau, un jeune homme écrit dans un cahier placé sur une planche en avant d’une fenêtre. Ce joli dessin est à la plume et lavé au bistre. H. 17 e., L. 13 c. 6 m.'), fr. 60.- Blanc 2008: D140.Scholar in his studyPen and ink, washes in India ink, 191 x 145 mmL.P.M. Norblin de Lagourdaine; his sale, Paris, 5 February 1855 (Lugt 22231), no. 106 (‘Portrait d’un jeune homme assis et écrivant. A la plume, lavé au bistre’), fr. 75.-; A. Mouriau; his sale, Paris, 11 March 1858 (Lugt 24059), no. 141 (‘Un intérieur. Au fond d’un appartement éclaire à gauche par une fenêtre, se trouve un personnage assis à une table; il a devant lui un grand livre ouvert et un mappemonde, il tourne la tête à droite et semble écouter. Très savamment fait à la plume et lavé d’encre de chine. En hauteur 0,191 sur 0,145'), fr 10.-, to Colin E. Norblin (mar 1860) n 76 = 10; E. Norblin; his sale, Paris, 16 March 1860 (Lugt 25366), no. 76 (‘Un savant dans son cabinet d’étude. Joli dessin à la plume lavé d’encre de Chine. Collection Mouriau'), fr. 10.-, to Marmontel.Blanc 2008: D180 and D181.Nude (‘Academie Beeldt’)Pen, grey washes, red chalk, dimensions unknownV. Giovanti; his sale, Amsterdam, 9 December 1776 (Lugt 2615), no. 579 (‘Een Ordinantie uit Ovidius, met de Pen en Roet gewassen en een Academie Beelt, met root Kryt geteekent’).Sumowski 1979-1992: 8, p. 2828; Blanc 2008: D161.Self-portraitGraphite, dimensions unknownJ.G. Cramer; his sale, Amsterdam, 13 November 1763 (Lugt 1786), no. 1121 (‘Zyn eigen portrait, met potloot’).Sumowski 1979-1992: 9, p. 2829; Blanc 2008: D164.Portrait of Alphonsus SteinmoosMaterials and dimensions unknownJacob von Sandrart created an etching after this drawing by Samuel van Hoogstraten, around 1654, as stated on the print. According to Blanc 2008, it is highly likely that the drawing belonged to the sitter.Blanc 2008: D165.Portrait of Jan van HoogstratenRed chalk, dimensions unknownIn 1756 with François van Hoogstraten (1689-1760): "Zijn portrait door hemzelf gemaakt berust onder mij, in roode aarde." Possibly from an earlier date: "Ik vind zijn portrait bij mij, van Samuel geteekend." The drawing is either a self-portrait or a drawing by Samuel van Hoogstraten.Mentioned in the RKD's IB documentation, no. 77228. Portrait of Dirk van HoogstratenMaterials and dimensions unknownAccording to Blanc 2008, this portrait of Samuel van Hoogstraten's father was likely drawn on his deathbed and kept in Van Hoogstraten’s collection.The drawing was reproduced as an etching by A. Houbraken in his publication Groote Schouburgh (1718), vol. I, p. 164, no. 2Sumowski 1979-1992: 10, p. 2829; Blanc 2008: D166; Hollstein Dutch ...

Beyond the Core Group: Attributed Early Compositional Drawings

... , making verification impossible. It shows a similarly rich buildup in a combination of techniques, highlighted with areas of red chalk. However, at the same time the composition points to further progress in draughtsmanship: it is much more fully reso...

... ix the figures’ positions relative to each other, in alternating zones of shadow and illumination, demonstrating virtuosity. Newly discovered is a loose preparatory sketch of the composition on the verso. ...

... sheet also given to Van den Eeckhout, later identified as Rachel asking Leah for mandrakes, with similar crowding and meandering contours [39]. Van Hoogstraten may well have taken note of some of these more decorative elements in Van den Eeckhout’s work, but at the same time explored the spatial effect produced by emphasizing foreground forms in red chalk, in both these drawings. Although he discussed red chalk in his book as part of making drawings that are like paintings, as William Robinson has discussed, such sheets retained a study-like character. Perhaps this element played to the interest of informed connoisseurs. ...

... ’s face in shadow. Several other faces are even blanched out by the light, defined mainly by contours, accentuating their squat proportions and rounded forms. This would form a tendency in his drawings, one that had little to do with Rembrandt, and perhaps instead acquired during his earlier training under his father Dirck, to judge from comparison with a signed drawing by him of The fall of the titans, in Munich [42]. Something of the dynamism of his father Dirck van Hoogstraten (1596-1640) rubbed off as well, as seen in the ecstatic...

... y to solid contours, as a method to evoke volume and depth, and even light. The effect is a bit simple, with boldness and clarity prevailing over sensitivity and fluidity. Notably, Van Hoogstraten did not pursue extreme virtuosity in his drawing or painting hand, as did Carel Fabritius and Willem Drost for example: instead of subtle attenuation of thick and thin, and variation from passive to bold, he adhered to a more solid and workmanlike approach in his drawings, with more abrupt transitions of thickness and weight. Perhaps Van Hoogstraten was seeking a way to evoke the powerful physical presence of Rembrandt’s figures and forms, but through other means. ...

... ten cleverly incorporates a stage in the background where Italian Commedia dell ‘Arte is being performed, to underscore the humour of the foreground scenario. The forms are not rendered in the lavish pictorial technique of earlier biblical representations, but instead mainly with contour lines, abruptly alternating thick and thin for an unrefined effect, suited ...

The Elegant Interior, This Time in Earnest

... eft background, with large windows revealing a neat copse of trees and brick houses outside, set against open sky - again demonstrating a wide range of mastery. In addition to bright yellow and red, and the purple hue familiar from the abovementioned Dordrecht painting, the woman wears a shawl lined with a striking pure blue fabric. This subtle chromatic note, unusual for the artist until now, is also distributed in more subtle mixtures in the folds of white fabric in her costume and in the cradle’s sheets. The addition of this colour strongly suggests a stepwise progression for Van Hoogstraten, in incorporating pure colours into his compositions, moving even further away from Rembrandt. This alternative use of colour even receives separate attention in his treatise: a pure gathering together of harmonizing powers: the apt arrangement of colours, which we call the art of garlanding [tuilkonst].48 Echoed in a mythological scene of Venus and Adonis, it forms an extreme point in the stylistic development in his oeuvre [56]. We do not see further application or expansion in his work: these paintings appear to mark a caesura in Van Hoogstraten’s activity as an experimental and researching artist, in general.Van Hoogstraten produced a number of similar depictions of young women in domestic interiors, with or without children, often combining elements from the works mentioned above. Interior with a woman sitting next to a child in a cradle, formerly with Lord Dysart, closely echoes the composition in Tokyo, but instead of the sunlit room to the left it incorporates the arched doorway from the Dordrecht painting [54][55]. The fireplace in the background in Dordrecht resurfaces behind the young mother in a painting last recorded with the collector Victor Doat in Paris in 1883. As we only have black-and-white photos for these untraced works, further analysis is hindered. This type of paintings was likely aimed at a more modest clientele, or the open market. One can only speculate on whether this shift in format accompanied the artist’s return to Dordrecht in 1671. The production of variations on a fixed theme echoes the various letterboards Van Hoogstraten painted through the decades, with many repeated elements, but all different from each other. Looking at the overall chronology, these interiors evidently replaced the letterboards in his artistic output. ...

The Core Group, 1646: Balaam

... period such as Govert Flinck (1615-1660), Ferdinand Bol (1616-1680), and Gerbrand van den Eeckhout (1621-1674) in the late 1630s and early 1640s.We already see here the beginnings of the facial types that Van Hoogstraten went on to employ, in sharp contrast with Rembrandt’s demonstrative variation. They follow a formula of appealing proportions, dividing the forms of the face evenly, with large eyes, with regularly curving eyelids yielding an almond shape, or a cursory alternative of a line and a squat vertical stroke, often bleeding a bit, for the pupil. As a result, his drawn faces are distinctive and recognizable. In terms of technique, red chalk introduces an element of colour, as discussed in the Introduction, and point to the possible function of such drawings as practice or training in painting.11 The adoption of this element by Barent Fabritius (1624-1673), the younger brother of Van Hoogstraten’s friend Carel Fabritius (1622-1654), as well strongly suggests interaction in Rembrandt’s pupil’s atelier.12 Even so, one would not call this drawing a finished work, as it still incorporates many corrections and construction lines, some quite quick and sketchy, left visible in the final product. It appears that such a performance was intended for connoisseurs and fellow artis...

... s, to give the effect of light. Not surprisingly for a pupil, it is based on a painting by Rembrandt, his decidedly earlier The incredulity of Thomas of 1634 in Moscow, which was in the collection of Ameldonck Leeuw, a fellow Mennonite in Amsterdam, at the time ...

Van Hoogstraten as a Teacher of Printmaking

... tiquated dress and the birth and death dates inscribed at left, this is not the Cornelis van Beveren who was a contemporary of the artists, but an ancestor who lived in the sixteenth century. We suggest that Schalcken worked from a grisaille (or brunaille) prepared by Van Hoogstraten (in this case based on an earlier source), as Romeyn de Hooghe (1645-1708) did for the portrait of Balen discussed above. This method for preparing portrait prints was well-established, as in the extensive series of oil sketches prepared by Anthony van Dyck in the 1630s for the print series known as the Iconography. (Rembrandt produced a few oil sketches for prints, but no portraits in grisaille.) In any case, Van Hoogstraten used this method for his self-portrait in the Inleyding, discussed below (see [44]).Schalcken's fluent linear style is close to that of Van Hoogstraten, with a touch of bravura that suggests familiarity with the etchings of De Hooghe. This is not surprising since Romeyn de Hooghe was also a contributor to Balen's book, and, as we have seen, Van Hoogstraten admired him....