Пост 141. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 56

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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 plausible, since the Delft painters Pieter Cornelisz van Rijck (see cat. no. 123 here) and Cornelis Delff pursued the specialty; for Van Rijck, see Van Mander/Miedema 1994--99, vol. I, pp. 450-53 (fol. 298r-298v), vol. 6, pp. 102-6, fig. 68, the Kitchen Scene in the Herzog Anton Ulrich-Museum, Brunswick. The emphasis upon "histories, figures and

nudes" in Van Mander's biography of Van Miereveld is part of his lament that "in our Netherlands there is this deficiency ... [of] work to be had that requires composition," so that many clever talents must take up the "side road or byway" of portraiture (see Reznicek I963).

10. For a brief discussion of Van der Mast and Delff, see Eric Jan Sluijter's essay

in Delft I98I, p. 176, figs. I48-5I, I77, I80, I8I; see also Van Thiel et al. I976, pp. 191, 370. On Delff, see also Ekkart 1989.

11. The portrait by Mor in Washington is discussed by Paul Huvenne in Bauman and Liedtlce 1992, pp. I44-45.

I2. On the sitter, see MacLaren/Brown 1991, p. 475. The artist's biography provided

there wrongly cites Dirck van Bleyswijck (I667-[80]), who refers to Hendrick, not Willem, van Vliet and gives the misleading impression that only a few works by the painter are known.

I3. Slive I995, p. 248.

I4. See, for example, Van Thiel et al. I976, p. 636, no. A970 (Friesland, ca. I6oo ).

I5. Huygens I97I, p. 76. For a more recent translation from the Latin to Dutch, see Huygens I987.

I6. As noted by Vander Ploeg in The Hague 1997-98a, p. I2I, n. 7, in a discussion

of Van Dyck's autograph replicas of his portraits of the prince and princess, in the Prado, Madrid. For the canvas at Windsor Castle, see Judson and Ekkart I999, no. 306, pls. XXXI, I93·

I7. See Ekkart in Judson and Ekkart I999, pp. 28-29, pls. 177, I78, 214-17. Van Miereveld's recently rediscovered full-length portrait of Amalia van Solms was published in The Hague 1997-98b, pp. r66, I86, fig. I73.

r8. See Bredius I908, p. II. Portraits of Paulus Teding van Berkhout (I609-I672;

mentioned in chap. I here) and his wife, Jacomina van der Vorst (I6II-I665), are reproduced in Schmidt I986, pp. 54-55, figs. 17, I8 (kindly brought to my attention by Marten Jan Bok). The couple married in I637·

I9. Chapman 1990, p. 5. Wheelock (I995b, p. 170) cites Neo-Stoicism in connection

with Van Miereveld. One of the best introductions to the subject is Morford 1991.

20. See Broos's discussion in The Hague I997-98a, under no. 9.

21. On Van Miereveld's estate, see Montias I982, p. 129; pp. I21, I26, for similar

information; p. I54, on his will.

22. See Millar 1963, pp. 84-88, for this picture (no. 121, pl. 49) and other important works by Mijtens. Rudolf E. 0. Ekkart offers a useful biography of Mijtens in Dictionary of Art I996, vol. 21, pp. 508-9.

23. This paragraph is based on Rudolf E. 0. Ekkart's biography of Delff in Dictionary of Art 1996, vol. I4, pp. 664-65, and Gerdien Wuestman's entry on Delff's print after Van de Venne, Portrait of Frederick Hendrick, in Amsterdam 1993-94-, no. 263.

24. Sotheby's, London, July 6, I994, nos. 53, 54.

25. Rijksdienst Beeldende Kunst, The Hague, on loan to the Prinsenhof, Delft. See Delft I98I, p. I76, figs. I78, 179, and Delft 1996, p. 29, fig. 20, for Sara Bosschaert alone. An updated (that is, aged) bust-length version of the Van der Graeff portrait, dated I630, is in the Cincinnati Art Museum (Scott 1987, no. 34).

26. Amsterdam I993-94, no. 266 (the pair). On the Deutz family, see Bikker 1998.

27. As is noted in Wheelock I995b, p. I69, with regard to the Portrait of a Lady dated 1638 (on indefinite loan to the American Embassy, London).

28. Tideman 1903, pp. 125-26.