Искусствовед

6o. Van Mander/Miedema 1994--99, vol. 4, p. 174, n. 90, noting that a smaller version of the same(?) picture, signed and dated 1598, is in the Museum of Western and Oriental Art , Kiev. 61. Montias 1982, pp. 198-99 (see also p. 201 on the Bloemaert). The "conflagration"  by Jordaens may or may not look ahead to Van der Poel's burning barns and villages, but it would probably have resembled scenes of Troy burning and the like by Gillis van Valckenborch and other Antwerp artists. Esaias van de Velde is credited with the figures in the three landscapes by Groenewegen and in the five architectural paintings by Van Bassen. 62. Ibid., p. 148, note k (estate of Jacob Jansz Helm, 1626). 63. On the question of art dealing, compare the interpretation of Montias (1982, p. 130 ). 64. See Briels 1997, figs. 56 (very much like Van Mander), 6o, 65, 68, 149, and Van Mander/Miedema 1994--99, vol. 4, fig. 103, for a John the Baptist Preaching (location u...

43. See chap. I, n. 29. On Van Couwenbergh's family portraits, see Maier- Preusker 199I, pp. 206-8, figs. 52-54, and nos. A37-A42. 44. Montias 1982, p. 194. 45. See Eric Jan Sluijter in Delft 1981, pp. 176-77, on this point. 46. Ekkcart (I995, no. 68) discusses Johannes Verkolje's Portrait of a Huntsman) 1672, in the Museum Boijmans Van Beuningen, Rotterdam, and refers to other works. See also Verkolje's family portrait with musical instruments of 1671 in the Ruzicka Foundation, Kunsthaus, Zurich. However, Verkolje, from Amsterdam, settled in Delft only about 1673. Haak (1984, p. 453, fig. 995) represents Delft portraiture with a canvas painted by Michiel Nouts in 1656 (Rijksmuseum, Amsterdam), but almost nothing is known about the artist, including his whereabouts at the time. 47. Compare Bailly's Portrait of a Man, Possibly a Botanist of I641 (Metropolitan  Museum) with portraits by Van Miereveld and Willem van Vliet (for example,  ...

29. Houbraken I7I8-2I, vol. I, p. I21. Bok in Utrecht, Brunswick 1986-87, p. 345, rightly observes that there is no documentary evidence for the claim (which is based upon a remark made by Van Bleyswijck) that Van Vliet studied with Van Miereveld. But the latter is the most likely candidate, to judge from a considerable amount of circumstantial evidence. 30. Van Vliet's portrait dated I624 was sold at Sotheby's, New York, June I, I989, no. 35· 31. On Willem de Langue, see Montias I982, pp. 236-37, and chap. 7 in this catalogue.  Another painting reminiscent ofVan Miereveld is the full-length Portrait of a Girl dated 1628 in the Castle Museum Sypesteyn, Loosdrecht (Delft 1981, fig. I83). Compare Van Vliet's work of a decade later, for example, the Portrait of a Boy (1638) in the Rijksmuseum, Amsterdam. 32. A similar work by Willem van Vliet, in the present writer's opinion, is the half-length Portrait of a Surgeon dated 1635 in the Mead Ar...

Ссылки стр. 571 1. See Israel I995, pp. 220-30, on the politics of this period; the quote is from  p. 224-, citing Van Deursen 1979, p. 88. 2. As noted by Ebeltje Hartkamp-Jonxis in Amsterdam I993-94, pp. 3I7, 420. 3· D. Beck 1993, pp. 68, 89. 4-. On the role and image of the court in the Dutch Republic, see Morke 1992, pp. 40-43 (on pracht en praal), 44 (on the title Vader der vaderlands). 5. This account is borrowed from Morke (1992, p. 45), who cites more specialized sources. 6. See Havard 1894, to which Bredius I908 malces additions and corrections. 7· See Van Mander/Miedema 1994--99, vol. 5, p. I67. Rudolf E. 0. Ekkart in  Amsterdam 1993-94, p. 310, lists Van Miereveld's father as a goldsmith who  lived until I612. 8. See Montias I982, pp. 38, 370. 9. Van Mander/Miedema I994-99, vol. I, pp. 38I-85 (fols. 280v-28Iv); see the commentary in vol. 5, pp. 166-73. No kitchen scenes by Van Miereveld survive  but the claim is p...

Мария ван Остервик ( Maria van Oosterwijck ,1630-1693) из Ноотдорпа близ Дельфта работала в Дельфте в 1660-х годах и (по Хоубракену) имела там студию, но жила в Амстердаме с 1673 года.  В январе этого года она обратилась к двум жителям Дельфта за подтверждением, что в апреле текущего года она передала амстердамскому торговцу для подажи в Мюнхене два натюрморта [312] .  Она получила международное признание: Хоубракен упоминает о продажах Луи XIV, императору Леопольду I Габсбургу, Вильяму и Мари Габсбургам (которые - по слухам - заплатили ей 900 гульденов) и польскому королю (2400 гульденов) [313] .   Биограф также говорит, что Ван Остервик была ученицей Яна де Хеема в Утрехте (где он работал с 1665 по 1672 год), и упоминает об ее отказе Виллему ван Эльсту вступить с ним в брак. Отец и дед Ван Остервик были проповедниками в Дельфте, и о ней говорили, что она "очень благочестива".  Представляет интерес ее наиболее выразительная работа, искусный натюрмо...