Download Gerrit van Honthorst: A Discussion of his Position in Dutch by Jay Richard Judson PDF

By Jay Richard Judson

Gerrit van Honthorst (1590-1656), identified this present day essentially for his candlelight scenes, was once additionally well-known throughout the 17th century for his mythological and old work, and used to be a favourite of the courts 1 in England, Denmark and the Netherlands. it truly is my goal right here to review his oeuvre so that it will make sure his contribution to the advance ment of Dutch portray at the moment. In discussing Honthorst, i've got selected basically these work that are autograph to prevent basing conclusions upon works of questionable attri bution. the matter work which i've got made up our minds to be from his hand may be handled within the Catalogue Raisonne. i've got handled Honthorst's portraiture in simple terms in as far as it appeared to be of value for brand new tendencies in Dutch portray. the elemental fabric touching on Honthorst used to be first released by means of seasoned fessor G. J. Hoogewerff in 3 articles for Onze Kunst in 1917. during this sequence of articles Professor Hoogewerff demonstrated a chronology of Hont horst's Italian works and gave a few indication of his stylistic improvement.

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Gerrit van Honthorst: A Discussion of his Position in Dutch Art

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Paul gazes ecstatically in the direction of the "Third Heaven" in both canvases, but Honthorst adds musical companions, which we have seen earlier in Sabatini, and whereas Domenichino is powerful and direct, Honthorst tends toward the decorative. He is more interested in the playful angels, who do not carry St. Paul in the full sense of the word, but act as an escort and detract from the religious intensity of the moment. While Honthorst more than likely received the basic idea from Domenichino, he placed the scene in a more retardataire Bolognese setting.

XXVI). [22] Gallery, London (frontispiece) and Christ as a Child with Saint Joseph in Montecompatri (fig. 5). In the Christ Crowned with Thorns Honthorst has mastered the technique of employing artificial light in a naturalistic way. For the first time, the intensity of the light moving over the surface diminishes, the farther the light is from its source. It shines upon bodies which have become solid three-dimensional forms, bursting through the surface of the canvas. Objects which interrupt the stream of light, like the rope around Jesus' neck, cast carefully planned shadows.

The young Honthorst, then, arrived in Rome as a Northerner trained in the provincial shop of Abraham Bloemaert, which meant that as a student he had been exposed to a slowly-evolving neo-Classical figure style and the beginnings of a realistic, naturalistic landscape style. With this background, one might naturally expect that Honthorst would have been drawn to the classical-idealist tradition of Annibale Carracci, and that his earliest paintings would reveal this interest. Actually, he seems to have paid only a modicum of attention to the Carracci until about 1618 and 1 Elsheimer's closest disciple, Hendrick Goudt, was born in Utrecht araund 1580 and came to Rome early in the first decade of the seventeenth century (].

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