Painting in the Dutch Golden Age National Gallery of Art

Lecture Serial

The 2nd year of a three-year loan of Dutch paintings from the superb collection of Rose-Marie and Eijk van Otterloo has brought seventeen new pictures to the Gallery, in addition to seventeen that remain on view from the first installation. They suggest many topics for exploration, such as what the dress and manners of the people in paintings say about them; the glories of their gardens and what painters intended past picturing them; the importation of expensive rarities like lemons and what it says about Dutch guild; and more than. In this lecture series, presented from September 2015 through March 2016, nine leading scholars in the field of Dutch art speak about these and other subjects. Three lectures are given by John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, Los Angeles, and a specialist in Dutch paintings, who delivered the lecture serial A History of Dutch Painting in Six Pictures in January and February of 2015. Generously sponsored past the Martin A. Ryerson Fund.

Note: Seating is limited. Doors open one hour prior to each lecture.

Acquire More virtually the van Otterloo Collection

Lecture Videos

To view a recording of the most recent lecture from this series, play the video at left. Previous lectures in the series are available on the Gallery's YouTube channel.

Schedule

Food for Idea: Pieter Claesz. and Dutch Even so Life

John Walsh
Friday, September 25, 1:xxx pm

The Dutch are famous for nevertheless-life paintings. These began with sober arrangements of objects chosen to remind viewers of the brevity of life, as can exist seen in the early on works of the pioneer Pieter Claesz. Afterwards artists went on to paint sumptuous compositions of expensive objects that reverberate the conviction and pride of the Gilt Historic period. John Walsh, B.A. 1961, Manager Emeritus of the J. Paul Getty Museum, Los Angeles, and a specialist in Dutch paintings, explores the motives for still-life painting and the probable responses of 17th-century audiences.

Consider the Lilies: Virtue and Virtuosity in Flower Paintings by Jan Davidsz. de Heem and Others

John Walsh
Fri, October 2, ane:thirty pm

Paintings of vases with flowers spoke to the Dutch of the splendors of creation. They besides documented ane of the great eras of horticulture, which saw the tillage of imported species, fevered speculation in tulips and hyacinths, and systematic report in botanical gardens. Jan Davidsz. de Heem's compositions and unrivalled technique were influential for a century; John Walsh, B.A. 1961, Managing director Emeritus of the J. Paul Getty Museum, Los Angeles, and a specialist in Dutch paintings, examines them in item.

Advent and Reality in Dutch Fine art

Peter Sutton
Thursday, October eight, 5:30 pm

As Rose-Marie and Eijk van Otterloo's collection brilliantly attests, Dutch painting of the 17th century is remarkable for its naturalism and compelling truth to life—what scholars in the 19th century admired as its "probity." No other artists earlier the Dutch left such a comprehensive tape in pigment of their land, people, and possessions. In the early 21st century, viewers nevertheless marvel at Dutch artists' inventory of fact, but information technology is no longer seen as a literal speculum naturae (mirror of nature). Instead, it is recognized equally a composite of ascertainment and imagination, pictorial convention and visual vigil. Peter Sutton, Chiliad.A. 1975, PH.D. 1978, Executive Director of the Bruce Museum, in Greenwich, Connecticut, and practiced on Northern Baroque painting and Dutch and Flemish art, discusses the evidence for these assumptions in paintings from the Aureate Historic period. Followed past a reception.

Seascape in the Dutch Golden Age: Crowded Harbors, Fierce Battles, Harrowing Shipwrecks, and Tranquil Waters

Lawrence O. Goedde
Friday, October 9, ane:30 pm

Marine painting is among the distinctive inventions of Dutch 17th-century culture, and it has long been identified with the importance of the bounding main and seafaring for the rise and prosperity of the Dutch Republic and its citizens' well-being. Dutch marine art is not, however, a single bailiwick but presents a body of images remarkable for its ubiquity in society and variety of media, audiences, and purposes. Exploring glowing views of crowded harbors, gripping images of battles and triumphs, appalling scenes of shipwreck, and meditative glimpses of coastal and inland waters, Lawrence O. Goedde, Professor of Art History at the University of Virginia, in Charlottesville, discusses the differing functions of marine images and the meanings they held for the Dutch of the Gold Historic period.

Rank and Status in the Dutch Golden Age

Ronni Baer
Thursday, October xv, v:30 pm

Ronni Baer, the William and Ann Elfers Senior Curator of Paintings at the Museum of Fine Arts (MFA), Boston, offers a discussion of class distinctions and social stratification in 17th-century Dutch art. Baer has curated numerous exhibitions of Dutch and Flemish fine art with special accent on Rembrandt van Rijn, Johannes Vermeer, Peter Paul Rubens, and Gerrit Dou. Drawing on her work equally curator of the exhibition at the MFA titled Course Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Baer speaks to the ways in which art provides commentary on the socioeconomic groups of the Dutch Democracy. Followed by a reception.

Gerrit van Honthorst in America: What Took Then Long?

Arthur K. Wheelock, Jr.
Friday, October 16, 1:30 pm

Gerrit van Honthorst was 1 of the outstanding artists from Utrecht, the Netherlands, who traveled to Rome in the early 17th century and was inspired past the revolutionary paintings of Michelangelo Merisi da Caravaggio. Afterwards Honthorst returned to Utrecht in 1620, his Caravaggist paintings were greatly admired and had an enormous impact on other Dutch masters, including Jan Lievens and Rembrandt van Rijn. Nevertheless, until recently, few of Honthorst'south masterpieces accept entered American collections. Arthur K. Wheelock, Jr., Curator of Northern Baroque Painting at the National Gallery of Art, Washington, D.C., and Professor of Art History at the University of Maryland, in Higher Park, explores the reasons why so few Americans were drawn to the artist'south works until recently, and he examines a few of the masterpieces that accept now come to the United States, including works in the collections of the National Gallery of Art and Rose-Marie and Eijk van Otterloo.

How Dutch Painters Invented Temper: Jan van de Cappelle, Jacob van Ruisdael, and Their Predecessors

John Walsh
Thursday, February 18, 5:xxx pm

Nineteenth-century landscape paintings accustomed viewers to realistic skies and subtle light. That kind of prototype of an endlessly shifting nature, however, was created by Dutch painters two centuries before. Foreshadowed past the Venetians and inspired by innovators in the 1630s, artists such as January van de Cappelle and Jacob van Ruisdael broadened the expressive potential of art. John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, Los Angeles, and a specialist in Dutch paintings, shows how mural and seascape were given new and lasting powers. Followed by a reception.

Rembrandt's 3 Crosses

Nicola Suthor
Fri, February 19, ane:xxx pm

Nicola Suthor, Professor of the History of Art at Yale University, focuses on Rembrandt van Rijn's heavy revision of his engraving The Iii Crosses (1653). Whereas his motivation for reworking the plate may have been to strengthen its worn-out passages in order to produce more sheets, the fourth state is, surprisingly enough, a significantly dissimilar prototype. The importance of the Three Crosses lies in Rembrandt's experimental development of form. Suthor suggests an approach to agreement the reworking of the plates by considering the artist'southward sketching technique, marked by a use of erasure aimed at opening up the forms.

The Lemon'due south Lure

Mariët Westermann
Friday, February 26, one:30 pm

The artfully peeled lemon, baring its spongy pith and shiny flesh, was ane of the nigh beloved motifs of Dutch all the same-life painters in the 17th century. Why did it become such a signature element of the genre? In this talk, Mariët Westermann, Vice President of the Andrew W. Mellon Foundation, historian of European fine art, and author of several books—including A Worldly Art: The Dutch Democracy, 1585–1718—explores the lemon's importance to painters, botanists, and collectors in early mod Europe and explains how Dutch artists prepare the fruit on a path of pictorial pleasure for centuries to come.

Frans Post: Bringing Home the New World

James Welu
Friday, March 4, 1:30 pm

The Dutch painter Frans Post was the first European-trained artist to paint landscapes in the New Earth. His depictions of the Dutch colony in northeast Brazil provided Europeans some of the earliest glimpses of Due south America. After a seven-yr stay in Brazil, Mail service returned to holland to create for the Dutch art marketplace numerous landscape paintings of this remote and exotic place. James Welu, Manager Emeritus of the Worcester Art Museum, in Massachusetts, explores the wealth of data these paintings offer, both about the land that inspired them and the people who acquired them.

Peter Paul Rubens, Rembrandt van Rijn, and the Spousal Model-Muse

H. Perry Chapman
Friday, March 11, 1:30 pm

The notion that the artist'southward model is also his lover and muse stems from antiquity. In the 17th-century Netherlands, Peter Paul Rubens and Rembrandt van Rijn painted their wives in stunningly intimate portraits and equally historical, biblical, or mythological figures. It appears that they as well portrayed their wives in the nude. In a time and place when artists' studios were in their homes, grouping life-cartoon sessions were part of studio exercise, women who posed in the nude were typically prostitutes, and nudity could be censored, what is to be made of the nude spousal model-muse? H. Perry Chapman, Professor and Acting Chair of Fine art History at the University of Delaware, in Newark, explains that, although propriety may have been at stake, so, as well, were veracity, inspired inventiveness, and rivalry with by masters.

Nigh John Walsh

John Walsh, B.A. 1961, is Director Emeritus of the J. Paul Getty Museum in Los Angeles. He was a paintings curator at the Metropolitan Museum of Art, New York, and at the Museum of Fine Arts, Boston. He received a Ph.D. from Columbia University. He has taught courses on the history of art at Columbia and Harvard Academy, and he is currently a visiting professor in the Department of the History of Art at Yale University.

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Source: https://artgallery.yale.edu/lecture-series-views-dutch-painting-golden-age

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