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aelbert cuyp | artyfarty

Aelbert Cuyp ( 1620-1691 | Aelbert Jacobszoon Cuyp/Cuijp ) was a Dutch 17th century painter.

He was born in Dordrecht. 

His family were all artists, with his uncle Benjamin and grandfather Gerrit being stained glass cartoon designers. He painted landscapes and he inherited a considerable fortune. Cuyp's father was his first teacher and they collaborated on many paintings throughout his lifetime. The most famous of a family of painters, the pupil of his father, Jacob Gerritszoon Cuyp (1594–1651/52 | Portraitist ), he is especially known for his large views of Dutch riverside scenes in a golden early morning or late afternoon light. 

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 View of Utrecht (c.1635, PD)

His period of activity as a painter is about 1635 and 1660.

Orpheus playing for the animals (1640, PD)

Landscape_with_the_Ruins_of_Rijnsburg_Abbey.jpg (c.1640, PD)

Aelbert_Cuyp_008.jpg (1640, PD)

Sunset at Dordrecht

Mountainous landscape with the ruins of a castle (1640, PD) 

Cuyp learned tone from the exceptionally prolific Jan van Goyen, light from Jan Both and form from his father, Jacob Gerritsz Cuyp.

He is known to have been married to Cornelia Bosman in 1658, a date coinciding so directly with the end of his productivity as a painter that it has been accepted that his marriage played a role in the end of his artistic career.

Cuyp's "van Goyen phase" can be placed approximately in the early 1640s. Cuyp probably first encountered a painting by van Goyen in 1640 when van Goyen was, as Stephen Reiss points, out "at the height of [his] powers", noticeable in the comparison between two of Cuyp's landscape paintings inscribed 1639 where no properly formed style is apparent and the landscape backgrounds he painted two years later for two of his father's group portraits that are distinctly van Goyenesque. Cuyp took from van Goyen the straw yellow and light brown tones that are so apparent in his Dunes (1629) and the broken brush technique also very noticeable in that same work.  This technique, a precursor to impressionism, is noted for the short brush strokes where the colors are not necessarily blended smoothly, e.g.Cuyp's River Scene, Two Men Conversing (1641).

Flock of sheep at pasture (1645, PD)

The next phase is due to the influence of Jan Both. Sometime round 1645, Both, a native and resident of Utrecht, had just returned to his hometown from a trip to Rome. In Rome, Both had developed a new style of composition due, at least in part, to his interaction with Claude Lorrain. This new style was focused on changing the direction of light in the painting. Instead of the light being placed at right angles in relation to the line of vision, Both started moving it to a diagonal position from the back of the picture. In this new form of lighting, the artist (and viewer of the painting) faced the sun more or less contre-jour [backlighting]. Both, and subsequently Cuyp, used the advantages of this new lighting style to alter the sense of depth and luminosity possible in a painting. To make notice of these new capabilities, much use was made of elongated shadows.  Cuyp was one of the first Dutch painters to appreciate this (limited to the mid-1640s) he did, more than any other contemporary Dutch artist, maximize the full chromatic scale for sunsets and sunrises. 

Cuyp's third stylistic phase (which occurred throughout his career) is based on the influence of his father. The evidence for Aelbert's evolution to foreground figure painter is in the production of some paintings from 1645 to 1650 featuring foreground animals that do not fit with Jacob's style. While it is assumed that the younger Cuyp did work with his father initially to develop rudimentary talents, Aelbert became more focused on landscape paintings while Jacob was a portrait painter by profession. What is meant by stating that Aelbert learned from his father is that his eventual transition from a specifically landscape painter to the involvement of foreground figures is attributed to his interaction with his father Jacob. Cuyp's landscapes were based on reality and on his own invention of what an enchanting landscape should be. 

View of Dordrecht (1650, PD)

Grey Horse in a Landscape (1650, PD)

Herdsman with Cows by a River (1650, PD)

Landscape with herdsman and cattle 1650

Portrait of a Woman (1651,   PD) Cuyp School

Dordrecht Harbor by Moonlight 1651

Rooster 1651

Domestic Fowl

 

The Milkmaid

Landscape with cow and herdsman

Travellers and Herder with four cows

River view with four drinking cows 

Avenue at Meerdervoort (1652, PD)

The Page (1652)

Dordrecht Harbour  about 1655

Evening 1655

A Cuyp drawing may look like he intended it to be a finished work of art, but it was most likely taken back to the studio and used as a reference for his paintings. Often the same section of a sketch can be found in several different pictures. Conversely, paintings which came out of his workshop that were not necessarily physically worked on by Cuyp but merely overseen by him technically, were marked with A.C. to show that it was his instruction which saw the paintings' completion. Cuyp's pupils and assistants often worked on paintings in his studio, and so most of the work of a painting could be done without Cuyp ever touching the canvas, but merely approving its finality. 

After he married Cornelia Boschman in 1658, the number of works produced by him declined almost to nothing. This may have been because his wife was a very religious woman and a not very big patron of the arts. It could also be that he became more active in the church under his wife's guidance. In 1659, after his marriage, Cuyp became the deacon of the reformed church. 

(1660)

Hirt mit fünf Kühen an einem Fluß 

Cuyp was a devout Calvinist and when he died, there were no paintings of other artists found in his home in 1691.

His highly influenced style which incorporated 'Italianate lighting' from Jan Both, broken brush technique and atonality from Jan van Goyen, and his ever-developing style from his father Jacob Gerritsz Cuyp was studied acutely by his most prominent follower, Abraham van Calraet. Calraet mimicked Cuyp's style, incorporating the same aspects, and produced similar landscapes to that of the latter. 

Aert van der neer | Arty Farty

Aert (c1603-1677) was a Dutch landscape painter who specialism was night scenes. His particular skillset was in depicting moonlight and fires in winter landscapes around waterbodies.

Van der Neer was born in Gorinchem. He worked as a steward to the lords of Arkel early on in life. He became an amateur painter possibly upon contact with the Amsterdam painters Rafael and Joachim Govertsz Camphuysen, whose sister Lysbeth he married in 1629. They had six children: Grietje (1629), Eglon (~1635), Cornelia (1642), Elisabeth (1645), Pieter (1648), and Alida (1650). He also knew Aelbert Cuyp and Meindert Hobbema.

His first paintings were sold around 1639. 

Winter Landscape with Skaters (1642, PD) Aert

His Winter Landscape (1643), and the Moonlight Scene (1644) were highly regarded after his death. 

Landscape with a Windmill (1646, PD) Aert

Moonlit Landscape with a View of the New Amstel River and Castle Kostverloren (1647, PD) Aert

Moonlit Landscape with Bridge (1648, PD) Aert

Night Landscape with a River (c.16[??]49, PD) Aert

Holländische Kanallandschaft bei Mondschein mit Schlittschuhläufern und einem Lagerfeuer, an dem sich Bauern wärmen (1650, PD) Aert

Winter skating Scene (1650, PD) Aert

His 1652 witness to a city hall fire birthed a few more paintings. It seems he was  well acquainted with the canals and woods about Haarlem and Leiden, and with the reaches of the Meuse and Rhine. Dordrecht, the home of Aelbert Cuyp, is sometimes found in his pictures, and substantial evidence exists that there was friendship between the two men. 

Paintings by he and Cuyp has represented either the frozen Maes with fishermen packing herrings, or the moon reflecting its light on the river waters. These are models after which Van Der Neer appears to have worked. He carefully enlivened his friend's pictures, when asked to do so, with figures and cattle. Van Der Neer's favourite subjects were the rivers and watercourses of his native country either at sunset or after dark, realizing translucence which allows objects even distant to appear in the darkness with varieties of warm brown and steel greys, and to paint frozen water, and his daylight icescapes with golfers, sleighers, and fishermen are as numerous as his moonlights. 

Riviergezicht bij winter Rijksmuseum (c1655, PD) Riksmuseum Aert

Winter landscape with ice skaters (c.1655, PD) Aert

Flusslandschaft mit Mondschein (1655, PD) Aert

In the National Gallery, London picture Cuyp signs his name on the pail of a milkmaid, whose figure and red skirt he has painted with light effectiveness near the edge of Van Der Neer's landscape. Lysbeth and he lived in Kalverstraat during that time, but because Lysbeth had birthed 5 mouths, he opened a wine tavern by 1659, going bankrupt in 1661. 

Winter landscape, view of a town with a wide river with numerous ice skaters (1660, PD) Aert

Winter Landscape with Skaters (1665, PD) Aert

And then he died. Eglon became a painter after that, presumably taught by Lysbeth. Aerts largest of about one hundred and fifty pictures accessible to the public, are in the Hermitage at Saint Petersburg. In England they are at the National Gallery and Wallace Collection. 

Adriaen Coorte | Arty Farty

Adriaen Coorte (c.1665-1707+) was a Dutch painter of still life. He is assumed to have been born and died in Middelburg. He became a pupil of Melchior d'Hondecoeter around 1680 in Amsterdam. Hondecoeter is known for repetitions of certain birds in certain poses, and he apparently took on pupils who were set to work copying these into their compositions.

Coorte signed works after 1683. He painted small and unpretentious still-lifes in a retrograde, close-up style. From 1683 he seems to have returned to Middelburg, where he set up a workshop and signed his small, carefully balanced minimalist still lifes. He often painted on paper that was glued to a wooden panel. About 80 signed works by him have been catalogued, mostly of small arrangements of fruits, vegetables, or shells on a stone slab, lit from above, with the dark background typical of still lifes earlier in the century. 

Strawberries_and_Red_Currants_on_a_Marble_Ledge.jpg (1685)

Strawberries, Asparagus, and Gooseberries in a Niche (1685, PD) Coorte

Stilleven_met_een_vlinder%2C_abrikozen%2C_kersen_en_een_kastanje (1685)

Fruit_on_a_Stone_Table_with_Landscape_Beyond.jpg (1685)

Vanitas Still Life (1686, PD) Coorte

Stilleven_met_rode_aalbesses mispels druiven_en_een_libelle (1686)

Still_life_with_hanging_bunch_of_grapes%2C_two_medlars_and_a_butterfly.jpg (1687)

Vier abrikozen op een stenen plint (1688, PD) Coorte

Grapes%2C_Medlars%2C_Apricots_and_a_Fig.jpg (1688)

Vanitas_still_life_in_a_niche.jpg (1688)

Two peaches and a fritillary butterfly on a stone plinth (1680-1690, PD) Coorte

Peach and two Apricots (1692, PD) Coorte

Strawberries in a stone jar (1693, PD) Coorte

Still life with three peaches on a stone legde and a butterfly (1693-1695, PD) Coorte

Instead of the Chinese or silver vessels favoured by his contemporaries, his tableware is very basic pottery. Archival evidence only exists in Middelburg for his membership in the Guild of St. Luke there from 1695 onwards, when he was fined for selling a painting without being a member of the guild. His works appear frequently in contemporary Middelburg taxation inventories. 

Grapes%2C_Peaches_and_Apricots_on_a_Stone_Plinth.jpg (1695)

Asparagus (1696, PD) Coorte

Strawberries (1696, PD) Coorte

Still life with Hazelnuts (1696, PD) Coorte

Een_bakje_aardbeien_op_een_stenen_plint (1696, PD) Coorte

Perziken_en_abrikozen_op_een_stenen_richel.jpg (1696)

Five_Shells_on_a_Slab_of_Stone (1696)

Two_Large_and_Three_Small_Shells (1696)

A bowl of strawberries with gooseberries on a stone ledge / Still life with a bowl of strawberries and a spray of gooseberries (1696)

Still Life with Shells (1697, PD) Adriaen Coorte

Still Life with Asparagus (1697, PD) Adriaen Coorte

Breakfast_Piece.jpg (1697)

Shell Collection (1698, PD) Coorte

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Shells_-_1698

Asparagus, Gooseberries and Strawberries in a Window, with a view of a Bird in a Tree (1698, PD) Coorte

Still life with asparagus, a spray of gooseberries and a bowl of strawberries (1698, PD) Coorte

Black_Currants.jpg (1698)

Schelpen_op_een_stenen_plint

Pot_of_Strawberries.jpg (1700s)

Strawberries_in_a_Stone_Jar_-_after_1700.jpg

Gooseberries on a Table (1701, PD) Coorte

Still_life_with_a_spray_of_gooseberries.jpg (1702)

Still Life with Five Apricots (1704, PD) Coorte

Wild strawberries in a Wan Li bowl (1704, PD) Coorte

Chestnuts (1705)

https://upload.wikimedia.org/wikipedia/commons/f/f8/Adriaen_Coorte_-_Chestnuts.jpg

Grapes_on_a_Stone_Ledge_1705.jpg

Green_Gooseberries_on_a_Stone_Plinth.jpg (1705)

Drie perziken op een stenen plint (1705, PD) Coorte

Three medlars with a Butterfly (1705, PD) Coorte

Coorte was apparently not well known to his contemporaries outside the small city of Middelburg and, like Vermeer a century before, he was almost entirely forgotten until the 1950s. An exhibition of 35 examples of Coorte's work in 1958 at the Dordrechts Museum, became a sensation in the Netherlands, with the poets Hans Faverey and Ed Leeflang both being inspired by the paintings.