Two smoking farmers at a table after Adriaan van Ostade

150,00

Etching by Jacob Ernst Marcus, drawing by Willem Alewijn after a painting by Adriaen van Ostade. Made in Amsterdam in 1795. The image is 17 x 16 cm and comes in a passe partout. The total dimensions are 41 x 38 cm. The print is in excellent condition.

Source: http://hdl.handle.net/10934/RM0001.COLLECT.149245

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Description

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Jacob Ernst Marcus, was born in Sint Eustatius on March 19, 1774. He was a Dutch engraver, draftsman, etcher, lithographer, painter and copyist. He also taught at the academy. He painted very little. Marcus married Adriana Maria Taunay (Scheen 1981) on 23 September 1804, the sister of amateur artist Jan Paulus Taunay. He died in Amsterdam on March 19, 1826.

Jonkheer Willem Alewijn was born in Amsterdam on 9 May 1769, he was a Dutch painter, draftsman and copyist. Alewijn has made many drawings to old masters. Alewijn is considered an amateur since his actual profession was an officer in the Dutch army. He died in Utrecht on December 4, 1839.

Adriaen van Ostade (christened Haarlem, 10 December 1610 – there, 28 April 1685) is one of the most important Dutch painters of the golden age. In addition to being a painter, he was an engraver and draftsman. Van Ostade belongs to the Dutch School. Adriaen van Ostade was the eldest son of Jan Hendricx Ostade, who came from the hamlet of Ostade in today’s Asten. Both Adriaen and his brother Isaac took the name “Van Ostade” when they became painters. Van Ostade married at the age of 28. His wife died in 1640, after which Adriaen van Ostade remarried. In 1666 he became a widower again. Haarlem was one of the most important and prosperous cities of Holland in the Golden Age. The flourishing and freedom of the city attracted many Flemish and Dutch painters, which strengthened Haarlem as an art city. According to Houbraken, Adriaen van Ostade was taught by Frans Hals, at the same time as Adriaen Brouwer. Van Ostade mainly painted the poor layer of the population. He preferably portrayed the peasants and villagers cheerfully dancing, partying and fighting, and at the same time aroused admiration and horror in his time. Van Ostade derived this theme from the writers of that time such as Bredero, from his example the painter Pieter Bruegel and from his immediate surroundings. He combined the raw, realistic tradition of Bruegel with the exuberant style of his teacher Frans Hals: in the early years in particular, his paintings contained a palette of small, ugly caricatures that rags on alcohol and tobacco. From the outset, Van Ostade’s canvases were cheerful and he regularly painted caricatures to mock the exuberant lives of farmers and villagers. He also experimented with strong light-dark contrasts. It is a movement in time, in which Rembrandt excels most. A clear example of the ‘clair-obscur’ is a work from 1635, ‘partying farmers in a barn’, the bright lighting of the main group, the sparse-lit space and the dark objects in the foreground (the ‘repoussoir’) are characteristic of that period of time. In the first years Van Ostade mainly used many gray and brown shades in his canvases, economically supplemented with pale red, purple and blue. After 1640, Van Ostade’s compositions became calmer and the lighting effect warmer. The paintings show more respect for the subject. The farmers and villagers still drink and dance, but it is not a caricature. Van Ostade appears to have been influenced in style by Rembrandt during this period. Sometimes Van Ostade even takes over a subject such as the “proclamation to the shepherds” (1640). At the time, he also painted a few landscapes that match the monochrome style of Haarlem. But landscapes clearly do not arouse passion in Adriaen van Ostade. Van Ostade changed style again after 1650: he felt the urge for perfection. Van Ostade is a gifted atmosphere painter (“tonalist”) and composition painter, who combines his far-reaching detail with a strong sense of space and light. The colors remain reserved: grays, blue gray and brown. He creates depth effect by painting figures in the background a little fainter in hue. The canvas ‘A painter in his studio’ (1663) is one of his most sensitive paintings from that period in terms of light treatment, which moreover gives a good impression of the habitat of the seventeenth-century painter: the painter behind his easel, next to him the bottles with oil and turpentine, trays, dishes and brushes on the couch. In the background the student is rubbing paint. The poor appearance did not relate to Van Ostade’s studio: he was already a wealthy man through painting. At the end of his life, Van Ostade shifts his attention to producing engravings (which was a lucrative trade) and his canvases flatter.

Source: https://nl.wikipedia.org/wiki/Adriaen_van_Ostade

 

 

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