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    Baroque Essay

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    Samson and Delilah
    Samson and Delilah
    Samson and Delilah

    1.

    1616. Honthorst. Rome
    2.Patron: Unknown; most likely Marquis or Bourgese
    3.

    History Painting Book of Judges
    didactic: teaches the viewer
    Retold tons of Time
    4. Judges
    Rejected mannerism
    2 changes: maid presence; she cuts his hair
    Vices: avarice and lust
    oil painting
    12 year Truce in Rome
    “To be in the lap of Delilah”
    6. 4′
    lifesized
    thickly applied pain
    loose in red area
    7.Tenebrism
    repousoir
    Tans browns
    source of light: candle
    9.

    Got the idea from Reubens 1609
    10. Warning against prostitution
    Pre feminist concept- me seduced by women
    Women Empowerment
    Comparisons:
    Caravaggio:Judith 1598
    Mantegna: Samson & Delilah 1419
    van Leyden: S print before 1508
    Artemeisa Gentileschi Judith and Her Maidservant
    Rembrandt:The Blinding of Samsn

    The Merry Company
    Honthorst. Rome. 1620
    Patron: Grand Duke of Tuscany Medicci Family
    Genre Painting
    Comical Dinner Party
    3 men 3 ladies old chrone
    Light Source: Candle
    Gluttany; Lust
    Dangers of overindulging in the 5 senses: Vanitas Prints
    Lute: sexual

    Comparisons:
    Karl van Mander (engraving after), Inn Scene, late16
    Jan van Hemessen, Prodigal Son, 1536
    Table Scene: Caravaggio, The Calling of St.

    Matthew, c. 1597- 1601
    Hieronymous Bosch, The Seven Mortal Sins, DET: Gluttony, 1475-80
    Hendrick Goltzius( engraving after),Five Senses, c. 1595

    The Procuress
    Honthorst; 1625; Utrecht
    Reduced version of The Merry Company
    Lute: vagina
    Genre counterpart of Samson and Delilah History Painting
    Artificial lighting is the signature effect of Honthorst

    Comparisons:
    -Jan van Hemessen,Prodigal Son, 1530s’
    -Caravaggio The Cardsharps. 1594
    Fortune Teller 1595
    -Honthorst Soldier and a Girl 1622
    The Merry Fiddler, 1623
    Avarice, 1624-34 (old woman and a coin)

    The Procuress
    Baburen.

    1622. Utrecht
    Prostitute holding lute, man holding coin “ready to go”
    Day Scene-didn’t use candles
    Appears in a Vermeer Painting “The Concert”
    Trained under a different Mannerist
    Comparisons:
    -Dirck van Baburen, The Backgammon Players, c. 1624
    -Boy with Jew’s Harp, c. 1621

    Calling of St.

    Matthew

    ter Brugghen. 1621. Utrecht
    History from the Gospels
    Utrecht was the center of Northern Catholicism
    Daylit
    working from a print
    Source: Caravaggio
    Conversion in Catholocism as a part of the Counter reformation
    Mix contemportary and biblical garb
    halfway figures; grotesque faces
    table scene
    Copies Caravaggio: Matthew bald, pointing at self; coins on the table; young boys; Men looking at money
    Comparisons:
    -Caravaggio, The Calling of St. Matthew, c.

    1597-1601
    -Jan van Hemessen, Calling of St. Matthew, c. 1535-40

    -Saint Comparison:
    Brugghen, St. Sebastian Attended by St.

    Irene, 1621
    compared to:
    Caravaggio,
    Deposition of Christ (Entombment), 1603-04

    Boy With a Flute
    Hals 1625. Genre Portraits Period Haarlem
    2 feet; Half Length, caught in the moment
    Lively gesture of the boy
    Flute: momento mori; vanitas; reminder of death
    Blurring over eyes
    simple background
    daylit
    browns and grays

    Comparisons:
    -Hals 5 senses roundels
    -Ter Brugghen’s Pendants Fife and Flute Players 1621
    -Caravaggio Lute Player 1596
    -Steenwyck Vanitas Still Life 1645-50
    -Hals The Merry Drinker, c. 1628-30.
    -Hals Young Man and His “Sweetheart”, 1623

    Husband and Wife Portraits
    Haarlem
    Early
    *Frans Hals, Man Holding Skull, c.

    1611
    Frans Hals, Portrait of a Woman, c. 1611. (red dress)
    MIddle
    Frans Hals, Lucas de Clercq, c. 1635.

    Frans Hals, Feyntje van Steenkiste, 1635.
    Late
    Frans Hals, Portrait of a Man in a Slouch Hat, c.1660-66.
    Frans Hals, Portrait of a Seated Woman,c.

    1660-66.
    emphasis on Marriage
    highest members of society
    Earlier= Fijn (fine)
    Later= Rouw (rough)

    St. Hadrian Civic Guard Company
    1633 Hals. 7’x11′ Haarlem
    was a member of these “Police Forces”
    Just the Officers- hung in a Doelen- Hung in the public room
    Seemingly random action
    only for officers who could pay
    Ornamental Halberds

    Comparisons:
    -Frans Hals, St.

    George Civic Guard Company, 1616
    -Cornelis Anthonisz, Crossbowmen, “Banquet of the Copper Coin,” 1533.
    -Frans Hals, Male Regents of the Old Men’s Almshouse, 1664

    Regents of the Old Men’s Almshouse
    1664 Hals. Haarlem
    Shows figures as individuals rather than part of a group
    Board of Directors
    Hung in Different Rooms
    20 shades of Black
    Last stage before death
    No interaction with eachother
    Rouw style
    30 total
    Regentesses of the Old Men’s Almshouse
    1664 Hals. Haarlem
    Shows figures as individuals rather than part of a group
    Board of Directors
    Hung in Different Rooms
    20 shades of Black
    Last stage before death
    No interaction with eachother
    Rouw style
    30 total
    Judith Leyster
    Self Portrait

    Judith Leyster 1630
    30″
    Picture within a picture Vanitas
    Over the shoulder engaged with Viewer
    She Painted musicians
    Got married to an artist and had kids so she stopped
    painted for 10 years
    Comparisons
    -Caterina van Hemessen, Self-Portrait, 1548
    -Sofonisba Anguissola, Self-Portrait at the Easel, c.

    1556. -Frans Hals, Willem Coymans, 1645.
    -Judith Leyster, Two Children with a Cat, c. 1629.

    Stoning of St Stephen
    Stoning of St Stephen
    Rembrandt 1625 Leiden
    1st singed and dated history painting
    16′ wooden panel
    Dutch Scholar: Petris Scrivarious
    NT Acts only martyrdom in the Bible
    Depicts Stephen as himself
    Use of tennebrism and repusoir
    Saul in the background
    Comparisons:
    Adam Elsheimer, Stoning of St. Stephen, 1603-04
    Pieter-Pietersz Lastman, The Triumph of Sesostris, 1631
    Self-Portrait at the Age of 22
    Self-Portrait at the Age of 22
    Rembrandt 1628 Leiden
    Both Painted and Etched
    deep shadow reflected poor self image
    1 of 41 different paintings of himself
    use of butt of the brush for the hair in both
    used needle and pen
    Reused the copper from another etching
    Love of old people

    Comparisons:
    Rembrandt, Self-Portrait, c. 1628-29

    Self-Portrait with Saskia
    Rembrandt 1636 Amsterdam
    5′
    Self portrait, History, and Genre that suggest the Prodigal Son: Peacock; Chalk Board with writing on it
    Pride; Glutany; and Lust
    Lute player in the background, but he was cut out
    emphasis on silk and velvet
    light seems to emanate from Saskia: his love

    Comparisons:
    -Gerrit van Honthorst, Merry Company, before 1620
    -Gerrit van Honthorst, The Merry Fiddler, 1623.
    -Frans Hals, Young Man and His “Sweetheart”,1623.

    -Marten de Vos, Prodigal Son, 1604, etching.
    -Title page from Contemporary Prodigal Son, 1630.
    -Albrecht Dürer, Prodigal Son, c. 1496.

    The Anatomy Lesson of Dr.</p data-lazy-src=
    The Anatomy Lesson of Dr. Tulp

    1632 Amsterdam
    5’x7′
    forshortening
    portraiture
    Comissioned
    they are wearing their ruffs
    Genre like-but not so
    Book forces repusoir
    body seems emanate light
    some figures are engaging while others look out
    unified triangle
    hall of surgeons; guild of surgeons
    interest in science
    Tulp became mayor

    Comparisons:
    Regents of the Almshouse
    St. Hadrian’s Gurard

    Blinding of Samson
    Blinding of Samson
    Blinding of Samson

    Rembrandt 1636
    7’x5′
    History Painting
    International Dynamic Baroque
    Judges
    Lust and Avarice
    Power of women
    Monumentality
    Gave it to the secretary to the President of the Dutch Republic: Constantine Huygens
    Slashing diagonals and intense tenebrism
    Comparisons:
    Venician Influence from Titian, Samson and Delilah: Samson Taken Prisoner, 1540-45.
    Van Honthorst: samson and delilah
    Italian from Caravaggio: Martyrdom of St Matthew
    Rivaled Peter Paul Rubens, The Capture of Samson, 1609-10.

    The Night Watch
    The Night Watch
    Rembrandt 1639-42 Amsterdam
    Musketeers=Kloveniers
    Not really at night, called that at the end of the 18th century, after cleaning realized it was brighter
    Triumphal arch: none in Amsterdam
    Full length
    shows 3 positions of Musketeers
    painted himself into the back
    Captain Cocq- forshortened hand
    Liutenant in Yellow. Gorget around his neck
    2 kids
    Little Girl: light coming from her
    holding a dead chicken:talons were on coat of arms as was yellow and blue (her clothes)
    sense of hierarchy
    18 paid, but included 13 more
    Glazes:transparent and Impasto: layered on paint
    Comparisons:
    -Cornelis Anthonisz, Crossbowmen, “Banquet of the Copper Coin,” 1533
    -Frans Hals, St. Hadrian Civic Guard Company, c.

    1633.
    -impasto: Titian, Death of Actaeon, 1565-76

    Self Portrait on a Stone Sill
    Rembrandt 1639 Amsterdam
    8” etching
    Berets were out of style
    leisure, good looking, confident
    twist of the body
    Face is frontal not 3/4
    body is almost completely profile
    light filled space in blank area
    Historicizing himself

    Comparisons:
    Raphael, Portrait of Baldassare Castiglione, after 1516.
    Titian, Portrait of a Bearded Man, 1510-15
    Rembrandt, Self-Portrait, 1640
    Rembrandt, Self-Portrait Drawing at a Window, 2nd state, 1648

    Christ Healing the Sick: The Hundred Guilder Print
    Christ Healing the Sick: The Hundred Guilder Print
    1640’s Rembrandt
    11″x15″
    drop in commissions
    death of his wife
    History Print
    Matt 19
    Cinematic
    bought it back for 100 guilders
    used extra acid baths
    extreme detail to just outlines
    He only gave it to friends
    Bathsheba
    Bathsheba
    Bathsheba

    Rembrandt 1654
    5’square
    Hendrickjie modeled
    live in girlfriend
    Venician Female nude
    Historical painting
    2 Samuel
    Utrectian Tenebrism
    Averice and Lust
    Letter is tradtional
    question of choice
    she seems contemplatove
    Coveting, Murder, and Adultery
    Power of Women
    Full body nude; realistic not ideal
    Impasto
    Comparisons: Tintoretto, Susanna and the Elders, c. 1555-56.

    The Sampling Officials of the Cloth-Makers’ Guild
    1662 Rembrandt
    last commission ever
    6′ by 9′
    5 guild marshals and 1 servant
    conversation and reacting to our presence
    account book
    forshortening of the table
    angle from below
    Picture with in a picture:seashore with a beacon with a fire: symbolism virtuous
    United the marshals in catholic style
    Chairmen of the the Board
    Comparisons:
    -Tulp
    -Regents of the Almshouse
    The Return of the Prodigal Son
    The Return of the Prodigal Son
    Rembrandt 1666-68
    8.5′ tall
    possibly unfinished
    altarpiece style
    not suitable for the alter
    Protestant subject History Painting
    Clothing of father suggest priest
    “Praised Simplicity” -Pliny
    not the popular scene to depict
    light/dark contrast but not as intense as early stuff
    lack of elegance
    awkwardness
    rouw
    did a print in 1636 of same painting
    Soft Tenebrism

    Comparisons:
    -Rembrandt van Rijn, The Conspiracy of Julius Civilis, c.

    1661
    -Domenichino, Last Communion of St. Jerome, 1614

    Self-Portrait in Painter’s Costume, Kenwood House
    Rembrandt mid 1660’s
    Only selfie with him actually painting
    Simple triangle
    Life Size
    Last Portrait
    White hat
    circles
    emphasis on simplicity
    use himself to wipe the brushes
    could be an easel in the corner
    impoverished
    rouw
    use of impasto

    Comparisons:
    All his other self portraits
    Jusith Leyster

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