Пост 155. Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 70

274. The still life is published in Gemar-Koeltzsch 1995, vol. 3, pp. 1043-44, ill.,

where misguided comparisons with other artists are made. For the mythological

painting, see Delft 1981, p. 175, fig. 173.

275. See the biographies in Bol 1960, pt. 2. Bosschaert moved to Breda in 1619

but the boys may have been sent to their uncle in Utrecht. Vander Ast's sister

returned to Utrecht in 1628

276. Ibid., pp. 39, 103, n. 89. See Montias 1982, pp. 236-37, on De Langue.

277. Bol 1960, pp. 40, 103, n. 93.

278. See ibid., pp. 38 (speculating on this subject), 40 (on the document).

279. This point is emphasized in Huys Janssen 1999, p. 102.

280. Exhibited in Amsterdam 1971, no. 17, and Amsterdam 2000, no. 41.

281. See, for example, Bergstrom 1956, p. 73, and Eric Jan Sluijter in Delft 1981,

p. 179. A nice exception is Quint Gregory's commentary in San Francisco,

Baltimore, London 1997-98, p. 363, under no. 76.

282. Eric Jan Sluijter in Delft 1981, p. 178. See also Montias 1982, pp. 240-41.

283. Montias 1982, p. 142.

284. See James's essay "Van 'boerenhuysen' en 'stilstaende dinghen'" in Rotterdam

1994-95, pp. 133-41 (p. 133, on the inventories).

285. As noted by Eric Jan Sluijter in Delft 1981, p. 179, citing Van Bleyswijck. On

Van Miereveld, see above, n. 9. Montias (1982, pp. 38, 56) notes that Van

Bieselingen (cited in the Delft guild register between 1582 and 1592) was

mainly a portrait and history painter, "remembered chiefly for a David and

Abigail in the Town Hall of Delft."

286. Montias 1982, p. 46, note b; Eric Jan Sluijter in Delft 1981, p. 178; and Van

Mander/Miedema 1994-99, vol. 6, p. 102.

287. Montias 1982, pp. 72, 163.

288. Ibid., p. 186.

289. Ibid., p. 257, lists seven works recorded in the 1620s, only four in the 1630s,

fifteen in the 1640s, and ten in the 1650s.

290. Ibid., p. 260, records three works valued at an average of 12.9 guilders.

291. Ibid., pp. 50, 344

292. See The Hague 1998-99a, pp. 44, 349

293. Montias 1982, p. 257; on p. 208 Montias notes that Vermeer's father, Reynier,

sold pictures by Pieter Steenwyck as well as works by Vander Ast, VanderPoel,

and the still-life painter of The Hague Jan Baptist van Fornenburgh

(1585/95?-1648/49 ).

294. See, most recently, Amsterdam, Cleveland 1999-2000, nos. 15-22, 29, 34-38.

295. Bol (1982, p. 81, fig. 68) compares Van Odekercken's stilllifes with a work by

Gerrit Willemsz Hecla of 1642 in the Rijksmuseum, Amsterdam (no. A1549).

See also Van Odekercken's Kitchen Still Life with a Maidservant (private collection),

published in Delft 1981, fig. 145; in Ghent 1986-87, no. 34; and in The

Hague 1998-99a, p. 334. The canvas strongly recalls kitchen stilllifes by Frans

Snyders: see Koslow 1995, chap. 3. Compare the provincial Dutch response to

the same tradition in a panel painted in Goes (Zeeland) by Cornelis Eversdyck

about 1640-43 (Rijksdienst Beeldende Kunst, The Hague; see Gemar-Koeltzsch

1995, vol. 2, p. 337, ill.).