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Van Hoogstraten Illustrating His Own Books
... ne in pen and ink, signed and dated 1650 [26][27].63The publisher of Schoone Roseliin was Jasper Goris (d. 1672) of Dordrecht, the same publisher who had marketed Johan van Beverwijck’s Schat der ongesondheyt in 1644 with illustrations by Van Hoogstraten. Hollstein erroneously mentions a second edition of Schoone Roseliin with the title 'Schoone Rufina', issued in 1669.64 However, there has never been a second edition. Instead, some of the plates were reused in two translated Spanish works by Alonso de Castillo Solórzano; it is there that the revised title page appeared. The translations from Spanish into Dutch by Guilliam de Bay (b. c. 1625) were published respectively as ‘t Leeven en bedrijf van den doorsleepen bedrieger and Het tweede deel van den doorslepen bedrieger (‘Life and profession of the cunning impostor’ and ‘The second volume of the cunning impostor’).65 Both volumes, often bound together, were published by Baltes Jansen Boekholt (1636-1692) in Amsterdam. While volume 1 bears the date 1670, volume 2 is dated 1669.In the year 1669 Boekholt also published Van Hoogstraten's second novel, De gestrafte ontschaking of zeeghaf...
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Biblical Images
... s orbit, notably Salomon Koninck, who depicted it at least three times.51 Van Hoogstraten may have based the print on one of his own drawings created while he was in Rembrandt's workshop, or soon thereafter. His awareness of Rembrandt's expressive etching style is reflected in the contrast between passages of open linework for the figures, with schematic treatment of some faces, and dense cross-hatching that embeds the action in a shadowy interior. Compare, for instance, The angel departing from the family of Tobias, dated 1641 [21]. Van Hoogstraten's print is rare, but it may have attracted some interest; a reworked impression is in the Albertina, Vienna.52Van Hoogstraten's most successful independent prints are two depictions of apostles: John the Evangelist and Thomas [22][23]. The plates are initialled 'SvH' but undated. Here, Van Hoogstraten creates substantial, nuanced figures and etches them with greater confidence. Developed in two known states for each plate, background tone is built up with layers of sinuous hatching. The figures, especially their faces, are sensitively rendered. The first state of Apostle Thomas, known in a unique impression in Museum Boijmans van Beuningen, is faintly signed in the lower margin '... Hoogstraten. p.', suggesting that this print reproduces a now lost painting by Samuel himself. If so, apart from the grisaille for his self-portrait in the Inleyding, this would be the only documented instance of Van Hoogstraten basing a print on one of his own paintings. John the Evangelist bears no such inscription (the initials 'SvH' appear within the image in reverse), but clearly complements Apostle Thomas in format.53 In their final states (shown here), both plates are inscribed with couplets alluding to the familiar legends of the saints: for John, his exile on Patmos and devotion to Christ, and for Thomas, his conversion from doubt and his martyrdom. Their attributes, a chalice for John, a book and spear for Thomas, are also conventional; Van Hoogstraten could well have been familiar with prints depicting the apostles by Albrecht Dürer (1471-1528), Lucas van Leyden (1494-1533), Hendrick Goltzius (1558-1617), and others.54 Saintly figures, espec...
Notes
... red Guilder Print is undated but assigned to ca. 1648. For a thorough assessment of the print, see ...
... lously survived. Thomas was said to have been murdered with a spear by a pagan priest in India. Also t...
... yal Library, The Hague. It also appeared in several later editions, with c...
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Van Hoogstraten's Earliest Prints
... 611-1691) in Amsterdam. At that time, Van Hoogstraten was in Amsterdam working with Rembrandt; he may even have attended the wedding. In 1656, Van Hoogstraten would marry Matthijs's cousin, Sara Balen. Savery's later work included prints with Rembrandtesque sources and illustrations for several Dordrecht publishers.16 He also etched a portrait of a calligrapher, aged 29, inscribed as after 'S. v. Hoochstraten'.17 Thus, it seems likely that Salomon Savery and Samuel van Hoogstraten knew each other. While this might have been Van Hoogstraten's means of access to the drawing by Salomon's uncle, Roelant, Salomon (thirty-three years older and well-established as an illustrator) could also have stimulated Samuel's interest in printmaking and book illustration. He may even have provided practical advice.A small etched portrait of an elderly man may also be one of Van Hoogstraten's earliest works. An impression in the British Museum bears the monogram 'S.v.H.' in brown ink [4]. Hollstein identified the sitter as Rev. Johannes Uytenbogaert. However, the figure does not resemble known likenesses of the renowned theologian, such as Rembrandt's etching of 1635. In fact, we have discovered that Samuel based this etching on a chalk drawing by his father, Dirck [5]. According to the inscription, the drawing portrays Samuel's great-grandfather, Franchois van Hoogstraten (1541-1632), a linen merchant and money changer in Dordrecht who played a central role in Dirck's upbringing. The print is not traced from the drawing, but freely adapted from it. The translation of the facial features is imperfect, and Samuel has added fur trim to the costume and a large book fastened with clasps. Other elements, however, are more faithfully recorded, including the skull cap, collar, and somewhat vacant expression; a distinctive feature is the pointed beard, curling upward at the tip. Young Samuel may not have intended this print as a portrait in the formal sense, but instead used his father's drawing as raw material to practice creating a character study. ...
Notes
... were formerly attributed to him. The monogram accrediting this drawing to Albrecht Dürer (1471-152...
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The Second Dordrecht Period: 1656-1661
... ttista Langetti (c. 1635-1676)), who combined elements of the Neapolitan Caravaggism of Jusepe de Ribera (1591-1652) and followers, with aspects derived from Peter Paul Rubens (1577-1640).28 Van Hoogstraten’s former pupil Willem Drost (1633-1659) would arrive in Venice only a few years later, and adopt this mode wholesale.29 Even so, Van Hoogstraten did not imitate the rough facture of the tenebrosi, but maintained his own penchant for smoothly rounded forms and surfaces. A largely similar style characterizes his depiction of Heraclitus [26], which can also be dated shortly after his return from Italy. The same applies to the more recently rediscovered canvas of the Virgin with child [29], likely from a little later, around 1660. Van Hoogstraten went on to apply a more imposing figure scale in his portraits from this period as well, as can be seen in his Portrait of an unknown man of 1660, and in the 1661 portraits of the Dordrecht wine merchant Jacob Ouzeel [27] and his wife Maaiken Stoop [28]. ...
... ng to a date around 1658/1660. The prominent sarcophagus-like frieze of bubble-blowing putti, however, reflects the work of Flemish sculptors that Van Hoogstraten could have seen in Amsterdam, in particular that of Francois du Quesnoy (1597-1643), also conjured in paint by other Rembrandt pupils, especially Gerard Dou (1613-1675).30 At the same time, there also remains a possibility of Van Hoogstraten’s former teacher Rembrandt’s influence in these paintings. The large scale and enhanced focus on the main figur...
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Dordrecht 1648-1651
... his skills. In doing so, he leaned heavily on his second teacher Rembrandt, producing variations on his work.A small-figured painting of The risen Christ appearing to his apostles dates from the year 1649 [16]. As in the earlier Adoration of t...
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Rembrandt’s Impact
... if they are walking right out of the painting. This illusionism of Rembrandt’s seems to have laid an important foundation for Samuel’s later interest in painting illusions.13 And the Night Watch was not the only artwork to play a role here. While Rembrandt was working on that commission, between 1639 and 1642, he extensively explored the limits of physical painting. This quest sometimes yielded quite extreme results, as can be seen in the 1641 portraits of his neighbours Agatha Bas and Nicolaes van Bambeeck, in which it seems as if the sitters are moving forward out of their own painted frames, into the world of the viewer [5][6]. After the completion of th...
... e advanced to the position of an assistant in Rembrandt’s studio, taking some newly arrived pupils under his wing.17 Willem Drost (1633-1659) appears to have been one of them.18 A portrait by Van Hoogstraten dating from c. 1647 supposedly depicts the young Drost. The painting has a strong Rembrandtesque appearance, representing a serious reaction to Rembrandt’s ambitious Italianising and illusionistic self-portrait type of 1639 and 1640, in which the illusionism of the elbow protruding from the picture plane plays an important role. Also dating from 1647 is a strongly Rembrandtesque history painting by Van Hoogstraten, an Adoration of the shepherds [14]. The composition is based on Rembrandt’s painting of the same theme from 1646, which is part of the so-called ‘Passion Series’ – actually a series on the life of Christ – that was owned by stadholder Frederik Hendrik (1584-1647) and on which Rembrandt had been working for more than a decade by then. Van Hoogstraten saw this painting take shape and it must have formed a subject of conversation in the studio. He even made a drawn copy after it and subsequently prepared his own painted version in other sketches, including a sheet preserved today in the Hamburger Kunsthalle. It shows how Van Hoogstraten freely based the arrangement with kneeling shepherds and the motif of a lantern on Rembrandt’s example. But also, how he experimented with a different pose for Mary, which he then discarded to follow Rembrandt’s example quite closely. Although Van Hoogstraten’s painting has a strong Rembrandtesque feel to it, the figures, composition and lighting effect show striking clumsiness in several respects. The Christ child has a particularly small head in proportion and the location of the light source is unclear. Apart from the concentration of light around the child, light also strikes the standing shepherdess from the left, suggesting a source of light located outside the picture plane. Given Rembrandt’s interest throughout his life in all aspects of light, reflections and scattering of light, this illogical element is quite remarkable - especially when considering both artists’ ambition to achieve convincing representations of reality.Also dating from 1647 is a bona fide commissio...
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Final Years in Dordrecht
... Sara Balen (d. 1678), passed away in Dordrecht. This prompted Van Hoogstraten to return to Dordrecht and, six months later...
Notes
... ns of Samuel’s brother Fransois referred to the Introduction as ‘an eminen...
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Return to Dordrecht
... e Master minters, including himself. In 1674, he painted a second portrait of the Master minters, this time with himself in the foreground carrying the medallion of honour on a chain over his shoulder [9].Van Hoogstraten’s position at the Mint required him to be married. In the year of his appointment, he married Sara Balen, the daughter of a Mennonite silk merchant. She, apparently, had left or had been forced to leave the Mennonite Church, because Van Hoogstraten was expelled from the Mennon...
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132. Tobit beschuldigt Anna van het stelen van een geitje
... zonder gevaren was, zocht Tobias een betrouwbare metgezel en vond die in Azarias, die in werkelijkheid de aartsengel Rafaël was. Onderweg, toen Tobias een bad nam in de rivier de Tigris, sprong een grote vis uit het water, die hem wou verslinden. Op aanwijzingen van de engel Rafaël ving Tobias de vis, sneed hem vervolgens in stukken en verwijderde hart, lever en gal, die hij bewaarde. Bij verbranding van hart en lever zou de rook kwade geesten verdrijven en met de gal zou de oogziekte van Tobit kunnen worden genezen. Toen ze verder reisden en niet zo ver van Rages meer waren, zei de engel tegen Tobias dat hij daar in de buurt zijn bloedverwant Raguël moest bezoeken en diens enige dochter Sara ten huwelijk vragen. Sara echter was bezeten door een duivel, die al zeven echtgenoten in de eerste huwelijksnacht had gedood. Desalniettemin vroeg Tobias aan Raguël hem Sara tot vrouw te geven. In de huwelijksnacht bracht Tobias in opdracht van de engel een reukoffer en verbrandde daarop het hart en de lever van de vis. De rook hiervan verdreef de duivel uit Sara en Tobias overleefde. Omdat Tobias bij de voorbereidingen van de bruiloft moest blijven, vroeg hij de engel om het geld bij Gabaël op te halen en hem mee te nemen naar de bruiloft. Na de festiviteiten nam Tobias zijn vrouw mee naar Ninevé. Bij zijn terugkomst bracht Tobias de gal van vis aan op de ogen van Tobit en genas zo diens oogziekte. Tenslotte onthulde Azarias dat hij in werkelijkheid de engel Rafaël was.Cat. 132 was tot de diefstal in 2006 opgespannen op een houten raamwerk en gevat in een vergulde houten lijst. Nadat het wandtapijt in 2007 beschadigd was terug gevonden, is er in 2008 rondom een smalle neutrale band aangezet en is het zonder de lijst weer in de trouwzaal opgesteld. Oorspronkelijk zal het wandtapijt groter zijn geweest, met aan alle zijden een iets uitgebreidere voorstelling en met boorden rondom....
... et Kunsthistorisches Museum in Wenen, diende tot voorbeeld.97 Zo lijkt het wandtapijt met Tobit beschuldigt Anna van het stelen van een geitje uit die reeks veel op cat. 132. Het heeft – in spiegelbeeld – een vergelijkbare compositie, met open interieurs op de achtergrond en Tobias centraal op de voorgrond, maar in een andere houding dan op cat. 132 en ook is de voorstelling verder in de details anders uitgewerkt.98Cat. 132 zal zijn vervaardigd te Brussel omstreeks het midden van de zestiende eeuw. Daar de boorden van het wandtapijt niet meer aanwezig zijn, is er echter te weinig houvast voor de toeschrijving aan een bepaalde werkplaats.99Conditie:Redelijk. Met oude reparaties door middel van stoppen in het deel met het geitje. Restauratie ICAT, Cruquius, 2008....