Pieter Gerritsz van Roestraten
Pieter Gerritsz van Roestraten was a Dutch Golden Age painter of still lifes and genre scenes. He was a student of Frans Hals and married Hals' daughter Adriaentje in 1654, he lived with his wife in Amsterdam before moving to London in 1666 where he was wounded in the hip during the great fire of London, an injury that caused him to walk with a limp the rest of his life. In his biographical sketch of Roestraten, Houbraken relates a popular anecdote that his wife Adriaentje as a baby once pooped on Adriaen Brouwer, a young pupil of Frans Hals at the time and had been asked to babysit; when the baby pooped all over him, he promptly pooped on the baby. When Mrs. Hals came in and asked what he was doing, he responded. Houbraken claims he was so good at painting portraits and silver, that Sir Peter Lely made a deal with him to stick to painting silver rather than portraits and this Roestraten did, earning forty to fifty pounds sterling for a piece; when his first wife died he died soon afterwards.
He influenced Christian Berentz and Robert Robinson
Art UK is a registered charity in the United Kingdom known as the Public Catalogue Foundation. It was founded for the project, completed between 2003 and 2012, of obtaining sufficient rights to enable the public to see images of all the 210,000 oil paintings in public ownership in the United Kingdom; the paintings were made accessible through a series of affordable book catalogues by county. The same images and information were placed on a website in partnership with the BBC called Your Paintings, hosted as part of the BBC website; the renaming in 2016 coincided with the transfer of the website to a stand-alone site. Works by some 40,000 painters held in over 3,000 collections are now on the website. Future plans include a similar project to cover sculptures in public collections, which will begin in 2017. From June 2016 museums and other organisations will be able to upload images of their watercolour paintings and prints to the Art UK website; the catalogues and website allow readers to see an illustration in colour, short description of every painting in the UK's national collections.
This information has significant educational benefits and constitutes the building blocks for art historical research. Revenue from catalogue sales made by collections is dedicated to the conservation and restoration of oil paintings in their care. Coverage includes national and local museums and council collections, paintings in universities, bishop's palaces of the Church of England, the properties owned by the National Trust, some other private institutions such as the colleges of Oxford and Cambridge universities; the collections of bodies such as Arts Council England, English Heritage and the Government Art Collection are included. However the Royal Collection is not included. Art UK receives funding from other sources. Of the 210,000 oil paintings in public ownership in the UK, around 80% are not on public view. Many are held in storage or civic buildings without routine public access. At the same time, many of these collections have incomplete cataloguing records. Since 2003, The Public Catalogue Foundation has been working to rectify this through a series of colour catalogues.
Before these were completed it was clear that a website was the best way to reach the wider public, a key aim of the project, so a combined approach was adopted. The Oil Paintings in Public Ownership book series is published by The PCF on a collection or county-by-county basis; each volume brings together all the oil and tempera paintings in a county's museum collections, together with paintings held in civic buildings such as town halls, universities and fire stations. Each county catalogue contains a colour photograph and basic information about each painting. All paintings are reproduced regardless of condition; the PCF’s first catalogue was published in June 2004, the series is now complete in 85 volumes. The Public Catalogue Foundation worked with the BBC to put all of the UK's publicly owned oil paintings online. In January 2009 a partnership with the BBC was announced with the aim to place the entire catalogue of publicly owned oil paintings online by 2012. On 4 October 2012 it was announced that the project had photographed every painting that it intended to and all 210,000 would shortly be available.
A section of the BBC website, Your Paintings, was launched in 2011. The PCF completed the digitisation of the entire national collection and celebrated their success in February 2013. An innovative crowdsourcing project, Your Paintings Tagger went online in 2011, to generate the metadata necessary to make Your Paintings searchable; the high-quality digital files, have not been made available to the public, paintings on the BBC site can only be'saved' as a'personal collection' on the site, not downloaded. In March 2013 the BBC revealed that an unknown painting by Anthony van Dyck had been discovered because of the Your Paintings website; the painting of Olivia, wife of Endymion Porter, had been discovered on-line and although it was thought it to be in the style of the Van Dyck, experts now agreed that the painting was an unknown original. Olivia, the subject of the painting, who died in 1663, was a lady-in-waiting to queen consort Henrietta Maria, she had married Endymion Porter, a patron of Anthony van Dyck.
A Culture Show TV programme noted that the painting had not been published and it was the Your Paintings website that had allowed this attribution. Art UK collaborates in making the BBC Four television series Britain's Lost Masterpieces. In 2016 Your Paintings was moved to a new dedicated website for Art UK, which will in time feature a much wider range of artworks; the earlier catalogues published are listed below. Oil paintings in public ownership in West Yorkshire: Leeds, The Public Catalogue Foundation, Lucy Ellis, 2004, ISBN 9781904931003 Oil Paintings in Public Ownership in Kent, The Public Catalogue Foundation, 2004 ISBN 9781904931027 Oil paintings in public ownership in West Sussex, The Public Catalogue Foundation, 2005, ISBN 9781904931041 Oil paintings in public ownership in London: The Slade School of Fine Art & University College London Art Collections, The Public Catalogue Foundation, 2005, ISBN 9781904931065 Oil paintings in public ownership in East Sussex, The Public Catalogue Foundation, 2005, ISBN 9781904931089 Oil paintings in public ownership in Suffolk, T
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Arnold Houbraken was a Dutch painter and writer from Dordrecht, now remembered as a biographer of artists from the Dutch Golden Age. Houbraken was sent first to learn threadtwisting from Johannes de Haan, who introduced him to engraving. After two years he studied art with Willem van Drielenburch, who he was with during the rampjaar, the year 1672, he studied 9 months with Jacobus Leveck and four years with Samuel van Hoogstraten. In 1685 he married Sara Sasbout, around 1709 he moved from Dordrecht to Amsterdam. Arnold Houbraken painted mythological and religious paintings and landscapes, he is best known for the art historical work The Great Theatre of Dutch Painters. When he died his son Jacob assisted his mother with the last proofs of the manuscript before publishing, his first attempt at an instructive manual for artists was his Emblem book, Inhoud van't Sieraad der Afbeelding, meant as a guide of possible painting themes. His registered pupils were Matthijs Balen, Johan Graham, his son Jacob.
Houbraken had ten children. His son Jacobus Houbraken was an engraver of portraits and book illustrations, including books by his father, his daughter Antonina Houbraken became an engraver for an Amsterdam publisher, is known today for her embellishment of cityscapes and buildings with animals and people. His daughter Christina Houbraken was an artist. Arnold Houbraken's books sold quite well during the entire 18th century. Jacob Campo Weyerman published his updated version in serial form, published as a complete set in 1769. Houbraken's engravings of the artists are in some cases the only surviving portraits of these people; the first to make a published sequel to Houbraken's work was Johan van Gool in 1750-51. Though these books published well, with changing fashions, during the course of the 19th century Houbraken fell out of favor with art historians when his sketches were found wanting, incorrect, or slanderous. Houbraken was careful to check and double check his sources, today many of his personal judgements still stand up to our modern scrutiny.
Attacks of his judgement due to the spelling of artist's names or accusations that he was nationalistic and deemed all of these artists as "Netherlandish" must be dismissed on the grounds that the various borders between the Netherlands and Flanders were far from decided in the period during which he was writing, spelling conventions in the Netherlands regarding names were only introduced by Napoleonic decree in the 1790s. Excepting those cases where the artist died quite young, or whose oeuvre was lost during various wars few artists were included in the Schouburg who do not hang in international museums today; the first modern art historian to publish an update of his work was Adriaan van der Willigen, in 1866. Since he has remained a valuable resource for art historians; the Schouburgh is part of the Basic Library of the dbnl which contains the 1000 most important works in Dutch literature from the Middle Ages to today. Museum Boijmans Van Beuningen, Rotterdam Rijksmuseum Amsterdam Aen den heere Jakob Zeeus, den Wolf in't schaepsvel ter drukpersse bestellende In: De wolf in't schaepsvel Inhoud van't Sieraad der Afbeelding In: Des menschen begin, midden en einde De groote schouburgh der Nederlantsche konstschilders en schilderessen The Man behind the Painter Schouburg in the Digitale Bibliotheek der Nederlandse Letteren Schouburg on Google books
Paulus Potter was a Dutch painter who specialized in animals within landscapes with a low vantage point. Before Potter died of tuberculosis at the age of 28 he succeeded in producing about 100 paintings, working continuously. Paulus Potter was born in Enkhuizen, he was baptized on 20 November 1625. In 1628 his family moved to Leiden, in 1631 to Amsterdam, where young Paulus studied painting with his father, Pieter Symonsz Potter. After his mother died, his father started an affair with the wife of Pieter Codde living in the fancy Sint Antoniesbreestraat. For some time his father was a manufacturer of gilded leather hangings outside the city walls. Potter became a member of the Guild of Saint Luke in Delft, but by 1649, Paulus moved to The Hague, next to Jan van Goyen. Potter married in the Hague and his father-in-law, the leading building contractor in the Hague, introduced him to the Dutch elite. Amalia of Solms-Braunfels, a member of the stadholder's family and an art-lover, bought a painting with a pissing cow, but some court ladies seemed to have advised against it.
By May 1652, after a case about delivering a new painting, he returned to Amsterdam. Potter was invited by Nicolaes Tulp, impressed by his civilized behavior and politeness. Potter painted his son Dirck Tulp, but only changed the face on an earlier work he was not able to sell. Potter died in Amsterdam. Paulus painted a self-portrait, at Hackwood Park, Hampshire until 1998, it is now at Buckinghamshire. A statue of Potter was erected at the Drommedaris in Enkhuizen in 1991.. His most famous painting not to be confused with his work "The Bull" is The Young Bull, now in Mauritshuis in The Hague, composed after drawings Potter made in nature. Though this painting was criticized, it was admired during the 19th century as an early example of Romanticism; the Young Bull features as the canvas being studied in Mark Tansey's 1981 monochromatic oil on canvas The Innocent Eye Test. Paulus Potter's paintings Artcyclopedia.
Philips Wouwerman was a Dutch painter of hunting and battle scenes. Philips Wouwerman was one of the most prolific artists of the Dutch Golden Age. Embedded in the artistic environment and tradition of his home town of Haarlem, Wouwerman made an important and influential contribution to the canon of seventeenth-century Dutch painting, his pictures were in demand during his lifetime, more sought after in the 18th century. Throughout Europe princely art collections like in Dresden and St. Petersburg still bear witness to this widespread admiration of Wouwerman's art. Born in Haarlem in 1619, the son of a now altogether obscure painter named Pouwels Joostsz. Wouwerman, little is known about the artistic schooling of Wouwerman. According to Cornelis de Bie, he studied with Frans Hals, but the particular style of Hals didn't leave a footmark on his oeuvre. Apart from a short stay in Hamburg at the end of the 1630s, Wouwerman seemed to have lived in Haarlem during his whole artistic career and died as a prosperous member of the community at the age of 48.
He joined the Haarlem Guild of St. Luke in 1640 and here took on several official posts in the years to come. Wouwerman worked as an estate agent in his home town, as many documents in Haarlem archives mentioned the artist in this context. Wouwerman started his artistic career with simple depictions of everyday life in the tradition of the bamboccianti by Pieter van Laer, his paintings of the mid-1640s feature a diagonal slope of land, a tree which functions as a repoussoir, figures accompanied by horses. Over the next thirty years he developed an individual style, treating a wide range of subjects from genre and landscape to military and religious scenes, he is noted for his skill in the depiction of horses of all breeds seen in motion. The art historian Frederik J. Duparc calls Wouwerman "undoubtedly the most accomplished and successful 17th-century Dutch painter of horses"; the masterpieces from his best period are of indisputably high quality, beautifully combining imaginary southern landscapes and a Dutch atmosphere.
Wouwerman's paintings are characterized by subdued colours, a cool atmosphere and a wealth of witty, anecdotal details. He died in Haarlem; the first retrospective exhibition of Philips Wouwerman's work took place in Kassel, Gemäldegalerie Alte Meister, in The Hague, The Royal Picture Gallers Mauritshuis, 2009/2010. At an early age, Wouwerman married Anna Pietersz. Van Broeckhoff with whom he had ten children, they lived on the Bakenessergracht in a house, lived in by Haarlem painters Cornelis Gerritsz Decker and Hendrik de Meijer. Seven of the Wouwerman children survived and, after the death of their mother in 1670, accepted a substantial inheritance. About 800 pictures were listed in John Smith's Catalogue raisonné as the work of Philip Wouwerman. In Hofstede de Groot's enlarged Catalogue the number exceeds to 1200. In Birgit Schumacher's published Catalogue raisonné, only about 570 pictures were listed as authentic works, as many of the pictures mentioned by Hofstede de Groot were painted by countless followers and imitators all over Europe.
Jan and Pieter Wouwerman, the younger brothers of Philips, were regarded as close followers whose pictures seemed to have been attributed to Philips. The oeuvre of Pieter manifests the influence of Philips with regard to the range of subjects, but regarding the artistic style, Pieter had quite one of his own, and Jan was a rather autonomous landscape painter. Out of the countless followers, some of the most gifted artists working in Wouwerman's style are worth mentioning: Jan van Huchtenburgh, the brothers Jan Frans and Joseph van Bredael as well as Carel van Falens, his registered pupils were Johannes van der Bent, Hendrick Berckman, Eduard Dubois, Nicolas Ficke, Barent Gael, Anthony de Haen, Emanuel Murant, Matthias Scheits, Kort Withold, his brothers. The White Horse, panel, 43.9 x 37.6 cm, Rijksmuseum Horse and Dismounted Rider, panel, 32.3 x 36.2 cm, 1646, Museum der bildenden Künste Landscape with River and Bathers, canvas, 59 x 82 cm, Vaduz-Vienna, The Collections of the Prince of Liechtenstein Festive Peasants in an Extensive Landscape, canvas, 70 x 112 cm, 1653, The Minneapolis Institute of Arts Winter Landscape with Wooden Bridge, panel, 28.5 x 36.5 cm, Staatliche Museen, Gemäldegalerie A Horse Stable, canvas, 47 x 67 cm, The National Gallery The Apple Grey at a Blacksmith, panel, 34.4.
X 38.3 cm, Gemäldegalerie Alte Meister Riding School and Watering Place, canvas, 82.5 x 127 cm, Kunsthistorisches Museum Departure for the Hunt, panel, 45 x 64 cm, Gemäldegalerie Alte Meister Landscape with a Hawking Party, canvas, 76 x 105 cm, Museo Nacional del Prado Battle at a Mountainous Fortress, canvas, 69 x 82 cm, Gemäldegalerie Alte Meister Cavalry at a Sutler's Booth, panel, 49.5 x 44.4 cm, Her Majesty Queen Elizabeth II. Buckingham Palace Lady and Gentleman at a Harbour, canvas, 51 x 71.3 cm, St Petersburg, The State Hermitage The Ascension of Christ, canvas, 85 x 68 cm, Herzog Anton Ulrich-Museum Attribution This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Wouwerman, Philip". Encyclopædia Britannica. 28. Cambridge University Press. P. 838. Philips Wouwerman. Exhibition Catalogue, Museumslandschaft Hessen
Jan Vermeer van Haarlem the Elder
Jan Vermeer van Haarlem the Elder, was a Dutch Golden Age landscape painter and the father of Jan Vermeer van Haarlem the Younger. According to the RKD he was the grandson of Janneke Knijff and was taught by Jacob Willemszoon de Wet, he was the brother of Isaac and the father of Barend and Jan II. He is known for landscapes in the manner of Jacob van Ruisdael. Jan Vermeer van Haarlem on Artnet