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Cuyp and was
Aelbert Jacobsz Cuyp ( October 20, 1620 – November 15, 1691 ) was one of the leading Dutch landscape painters of the Dutch Golden Age in the 17th century.
Aelbert Cuyp was born in Dordrecht on October 20, 1620, and also died there on November 15, 1691.
Jacob Gerritsz Cuyp, his father, was a portraitist.
Even Houbraken recalled that Cuyp was a devout Calvinist and the fact that when he died, there were no paintings of other artists found in his home.
The development of Aelbert Cuyp, who was trained as a landscape painter, may be roughly sketched in three phases based on the painters who most influenced him during that time and the subsequent artistic characteristics that are apparent in his paintings.
Cuyp probably first encountered a painting by van Goyen in 1640 when van Goyen was, as Stephen Reiss points out “ at the height of powers .” This is noticeable in the comparison between two of Cuyp ’ s landscape paintings inscribed 1639 where no properly formed style is apparent and the landscape backgrounds he painted two years later for two of his father ’ s group portraits that are distinctly van Goyenesque.
While it is assumed that the younger Cuyp did work with his father initially to develop rudimentary talents, Aelbert became more focused on landscape paintings while Jacob was a portrait painter by profession.
A Cuyp drawing may look like he intended it to be a finished work of art, but it was most likely taken back to the studio and used as a reference for his paintings.
His highly influenced style which incorporated Italianate lighting from Jan Both, broken brush technique and atonality from Jan van Goyen, and his ever-developing style from his father Jacob Gerritsz Cuyp was studied acutely by his most prominent follower, Abraham van Calraet.
Cuyp ” insignia, many paintings were left unsigned ( not to mention undated ) after being painted, and so a similar signature was added later on, presumably by collectors who inherited / discovered the works.
Most original Cuyp paintings were signed by him, and in the script manner in which his name was inscribed.
Conversely, paintings which came out of his workshop that were not necessarily physically worked on by Cuyp but merely overseen by him technically, were marked with A. C. to show that it was his instruction which saw the paintings ’ completion.
Common among the mislabeled works are all of the reasons identified for misattributing Cuyp ’ s works: the lack of biography and chronology of his works made it difficult to discern when paintings were created ( making it difficult to pinpoint an artist ); contentious signatures added to historians ’ confusion as to who actually painted the works ; and the collaborations and influences by different painters makes it hard to justify that a painting is genuinely that of Aelbert Cuyp ; and finally, accurate identification is made extremely difficult by the fact that this same style was copied ( rather accurately ) by his predecessor.
It is this reluctance which was felt by the Rijksmuseum to reattribute works to other painters ( Abraham van Calraet does not even appear in a Museum catalogue until 1926, and even then he is not given his own entry ) which shows how important it is to art historians that painters are accurately connected to their works — and this is continuously necessary for those of Aelbert Cuyp, as Dordrecht ’ s most famous painter may not in fact be Dordrecht ’ s most famous painter.
At the age of eight, he was discovered at the famous Albert Cuyp Market by comedian Johnny Kraaykamp and made his television debut in AVRO's Weekendshow.
He was a contemporary of Albert Cuyp and Meindert Hobbema, and like the latter he lived and died in comparative obscurity.
Dordrecht, the home of Albert Cuyp, is sometimes found in his pictures, and substantial evidence exists that there was friendship between the two men.
The same feeling and similar subjects are found in Cuyp and Van Der Neer, before and after their partnership, but Cuyp was the leading genius.
Ferdinand Bol was first an apprentice of Jacob Cuyp in his hometown and / or of Abraham Bloemaert in Utrecht.

Cuyp and Dutch
Cuyp ( 1594 – 1651 / 52 ), he is especially known for his large views of the Dutch countryside in early morning or late afternoon light.
Even Arnold Houbraken, a noted historian of Dutch Golden Age paintings and the sole authority on Cuyp for the hundred years following his death, paints a very thin biographical picture.
* November 15 – Aelbert Cuyp, Dutch painter ( b. 1620 )
* October 20 – Aelbert Cuyp, Dutch painter ( d. 1691 )
Aelbert Cuyp, another Dutch artist, created the drawing known as A Milkmaid ( ca.
The dining room, now decorated with what appear to be Dutch tiles but is in fact trompe l ' oeil, contains a collection of small, mainly Dutch, paintings from the 16th and 17th centuries by such artists as Aelbert Cuyp, Adrian van Ostade and Jan Steen.
* Albert Cuyp ( Dutch, 1620 – 1691 ) Dordrecht School landscape painter
Later, the " Knight's Procession " in the Palazzo Colonna in Rome — gave promise of an Italianate Cuyp, less commonplace, more romantic, and more refined than the Dutch artist.

Cuyp and painters
Adriaen and Isaac van Ostade, David Teniers, Aelbert Cuyp, Johannes Vermeer and Pieter De Hooch were among the many painters specializing in genre subjects in the Netherlands during the 17th century.

Cuyp and new
Both, and subsequently Cuyp, used the advantages of this new lighting style to alter the sense of depth and luminosity possible in a painting.

Cuyp and style
The next phase in the development of Cuyp ’ s increasingly amalgamated style is due to the influence of Jan Both.
It is around this same time that Cuyp ’ s style changed fundamentally.
In addition to the scarcely documented and confirmed biography of Cuyp ’ s life, and even more so than his amalgamated style from his three main influences, there are yet other factors that have led to the misattribution and confusion over Aelbert Cuyp ’ s works for hundreds of years.
Calraet mimicked Cuyp ’ s style, incorporating the same aspects, and produced similar landscapes to that of the latter.
Upon close examination of the works attributed to Aelbert Cuyp it is easily understood why his unique style developed the way it did, and how his works have been misinterpreted over the years.
Lastly and most importantly, the precision in mimicking Cuyp ’ s style by his follower Abraham van Calraet and their contentious signatures makes it all the more difficult to determine which paintings are genuinely that of Cuyp and which ones are actually accurate reproductions in his style.

Cuyp and own
They are less valuable in the market than those of Cuyp or Hobbema ; but, possessing a charm peculiarly their own, they are much sought after by collectors.

Cuyp and phase
Cuyp ’ s “ van Goyen phase ” can be placed approximately in the early 1640s.
Cuyp ’ s third stylistic phase ( which occurred throughout his career ) is based on the influence of his father.

Cuyp and limited
The amount of biographical information regarding Aelbert Cuyp is tremendously limited.

Cuyp and 1640s
* Aelbert Cuyp ( 1620 – 91 ) Milking Cows 1640s?

Cuyp and other
The Wallace Collection also displays many other treasures, such as two paintings by Titian, four Rembrandts, three Rubenses, four Van Dycks, twenty-two Canalettos, nineteen Bouchers, masterpieces by de Hooch, nine Teniers, Frans Hals, nine Murillos, two Velázquez and paintings by Domenichino, Cima, Daddi, Reni, Rosa, Thomas Gainsborough, Joshua Reynolds, Antoine Watteau, Nicholas Lancret, Jan Steen, Aelbert Cuyp and nine Guardis.

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