Пост 144. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 59

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 unknown).

65. Montias 1982, p. 204; on p. 195 Montias lists Jordaens among prominent

Delft painters who appear to have "worked primarily for the market?'

66. Bramer in particular has been inserted into "een zeer eigen plaats" (a place all

his own) where his style supposedly sets him apart from all other history

painters in Holland (Eric Jan Sluijter in Delft I981, p. I74).

67. See the essay by Vander Ploeg and Vermeeren and nos. 19, 29, in The Hague

1997-98a. On Vander Lisse, see also The Hague 1998-99a, pp. 194-99, 325.

68. Eric Jan Sluijter in Delft 1981, p. 177.

69. The essential article is Wansink 1987.

70. Nicolson 1979, p. 108, pl. 174. See below, n. 71.

71. Volmarijn did business with a number of Delft artists: see Montias 1982,

pp. 190-9I, 207. I do not mean to suggest that news of the art world came

to Volmarijn primarily through Delft, even if Van Vliet influenced him.

Volmarijn's father, Hendrick Crijnse Volmarijn (d. 1637), was born in Utrecht

but settled in Rotterdam (perhaps about r6oo) and preceded his sons Crijn and

Leendert in working both as a painter and as an art dealer. D'Hulst ( 1970,

pp. 20-22) reviews the family members and describes the known oeuvre of

Crijn Volmarijn's son Pieter (ca. I629-1679 ), who was strongly influenced by

Rubens, Jacob J ordaens, and (according to Jan Sysmus in the 1670s) by Leonaert Bramer; see also the biographies of Crijn and Pieter Volmarijn in Rotterdam 1994--95, pp. 306-7. D'Hulst (1970, p. 20) cites three known works by Crijn Volmarijn, all in the same style: the two paintings of The Supper at Emmaus mentioned in the text here (with some inaccurate information) and a Christ with Nicodemus of 1631 in the Ten Cate collection, Hilversum. Meyerman, who catalogued the Rotterdam Supper at Emmaus in Rotterdam 1994-95, no. 68 (colorplate on p. 316), found "an explanation for [Volmarijn's

Caravaggesque style] not so easy to give," and no wonder, since the family's

ongoing ties with Utrecht, their involvement in the art trade, and Crijn

Volmarijn's apparent debt to Willem van Vliet are not taken into account.

72. As Blanken notes in Utrecht, Brunswick 1986-87, p. 348, n. 1, a Calling of

Matthew by Van Vliet was sold in Amsterdam in 1724.

73. See Wansink 1987, pp. 3-4, figs. 2, 3. On Peter Wtewael, see Lowenthal 1986, pp. 175-81, pls. 161-83.

74. Wansink 1987, pp. 4-5, figs. 5, 6 (the panel of 1629 before and after cleaning).

75. Van Honthorst is mentioned here in the relevant catalogue entries (nos. 14, 15, 66). For Bloemaert, see Roethlisberger 1993, nos. 280, 387, pls. 413, 545. See also Moreelse's Allegory of Vanity of 1627 in the Fitzwilliam Museum,

Cambridge, and Jan van Bijlert's Mary Magdalene Turning from the World

to Christ of the 1630s (Bob Jones University Museum and Gallery, Greenville,

South Carolina), both of which were exhibited in San Francisco, Baltimore,

London 1997-98, nos. 19, 21. Parallels may also be found in approximately

contemporary works by Jan Lievens (see the Samson and Delilah of about

1630 in the Rijksmuseum, Amsterdam), Pieter de Grebber, and others. That

analogous designs - meaning the general arrangement of the figures in the

picture field - had also been painted by Rubens (for example, theAnemisia

from Louise de Coligny's apartment in The Hague; see The Hague

1997-98a, no. 24) and by other Flemings simply illustrates the fact that Van

Vliet was adopting an international language which spread from Rome.