Западноевропейское искусство от Джотто до Рембрандта

Станковая живопись – основное достижение голландского искусства XVII в. Бытовая живопись стала одним из ведущих жанров. В истории искусства создатели этого жанра называются «малыми голландцами». Голландцы хотели видеть в картинах весь мир. Каждый состоятельный (well-to-do) голландец считал картину лучшим украшением своего жилища. Большой спрос и связанная с этим конкуренция вызвали специализацию художников по отдельным видам тематики: одни писали портреты, другие – жанровые сцены, натюрморты, пейзажи: городские, сельские, дорожные. Расцвет пейзажной живописи в голландской школе относится к середине XVII в. Крупнейшим мастером реалистического пейзажа был Якоб ван Рейсдал.

Наивысшего расцвета достиг натюрморт. Виллем Хеда чаще всего изображает «завтраки»: блюда с окороком или пирогом на скромно сервированном столе. С течением времени «завтраки» Хеды сменяются роскошными «десертами» Калфа. На смену простой утвари приходят мраморные столы, ковровые скатерти, серебряные кубки, хрустальные бокалы.

VI. Summarize the text.

VII. Topics for discussion.

1. Dutch landscape.

2. Dutch genre painting.

3. Dutch still-life.

Unit XV Hals (1581/85-1666)

Recognized today as one of the most brilliant of all portraitists, Frans Hals was probably born in Antwerp and was brought to Haarlem as a child. Interested in human face and figure, Hals was blessed with a gift for catching the individual in a moment of action, feeling, perception, or expression and recording that moment with unerring strokes. Among his early commissions were group portraits of the militia companies that had been largely responsible for defending the new Dutch republic in the hostile world; these paintings radiate its self-confidence and optimism. Hals usually shows the citizen-soldiers in the midst of the banquets. The compositions, picturing a dozen or more males, mostly corpulent and middle-aged, each of whom had paid equally and expected to be recognizable, were not conductive to imaginative painting. The predecessors of Hals had composed these group portraits in alignments hardly superior compositionally to a modern class photograph. It was the genius of Rembrandt to raise them to a level of high drama. But Hals in his Banquet of the Officers of the Saint George Guard Company, of 1616 has a superb job within the limitations of the traditional type. The moment is relaxed, the gentlemen turn toward each other or toward the painter as if he had been painting the whole group at once, which was not certainly the case. Massive Baroque diagonals – the curtain pulled aside, the flag, the poses, the ruffs – tie the picture together into a rich pattern of white and flashing colours against the black costumes. Broad brushstrokes indicate the passage of light on colour with a flash and sparkle unknown even to Rubens.

The warmth of Hals's early style is seen in The Laughing Cavalier. The date 1624 and the subject's age 26 are inscribed in the background, and since the Cavalier's diagonal shadow also falls on it, it is clearly a wall. The Caravaggesque nowhere is thus converted into a definite here. The wall is irradiated with light and seems insubstantial. The armours proclivities of the young man are indicated by the arrows, torches and bees of Cupid and the winged staff and hat of Mercury embroidered in red, silver and gold on the dark brown of his slashed sleeve, with his glowing complexion, dangerous moustaches, snowy ruff and dashing hat, the subject is the symbol of Baroque gallantry. The climax of the painting is the taunting smile on which every compositional force converges.

The opposite of this glittering portrait is the sombre Malle Babbe, of about 1630-33. Nobody knows who the old creature was or the meaning of her nickname. Often called an «old crone» she might be from forty to sixty years old. Hals has caught her in the midst of a fit of insane laughter. Possibly she is a town idiot and the owl on her shoulder is a symbol of foolishness. The expression seized in a storm of strokes is rendered with a demonic intensity.

About 1664 when he was past 80, Hals showed a still different side of his character and ability in the Regentesses of the Old Man's Almshouse. Painted almost entirely in black and white and shades of grey, this solemn picture is united by diagonal movements. The painter had only devastated faces and white collars of the women as component elements. Each of the subjects has reacted in a separate way to age and experience, yet all participate in a calm acceptance of the effects of time. In its simplicity the composition shows an expressive depth unexpected in the generally excited Hals.

Make sure you know how to pronounce the following words:

Hals; Haarlem; Antwerp; cavalier; banquet; regentess

Notes