Gerrit Van Honthorst: A Discussion of his Position in Dutch by Jay Richard Judson

By Jay Richard Judson

Gerrit van Honthorst (1590-1656), recognized this present day basically for his candlelight scenes, was once additionally well-known through the 17th century for his mythological and ancient work, and was once a favourite of the courts 1 in England, Denmark and the Netherlands. it truly is my goal the following to check his oeuvre so one can be sure his contribution to the strengthen ment of Dutch portray at the moment. In discussing Honthorst, i've got selected basically these work that are autograph to prevent basing conclusions upon works of questionable attri bution. the matter work which i've got determined to be from his hand might be taken care of within the Catalogue Raisonne. i've got handled Honthorst's portraiture in simple terms in as far as it of importance for brand new traits in Dutch portray. the elemental fabric relating Honthorst used to be first released through seasoned fessor G. J. Hoogewerff in 3 articles for Onze Kunst in 1917. during this sequence of articles Professor Hoogewerff tested a chronology of Hont horst's Italian works and gave a few indication of his stylistic improvement.

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D. Thiry was a Fleming who worked at Fontainebleau between 1534 and 1542. He went to Antwerp in 1542 and joined Frans Floris' shop where he remained until his death in 1550. See H. Kauffmann, op. , p. 199, and K. Kussenberg, Le Rosso, Paris, 1931, p. 122 for a discussion of Thiry as a carrier of Fontainebleau ideas to the Antwerp School. Because Frans Floris had more than one hundred-twenty pupils, mostly of Dutch and Flemish origin, Thiry's training in Italy and Fontainebleau must have influenced a large number of Floris' students who in turn went back to their respective homes and spread these ideas throughout the Netherlands and Flanders.

St. Paul's refined and delicate face and his long brown beard recall the features of St. John the Baptist in the painting in Santa Maria della Scala of 1618 (fig. 6). The sweet but artificial character of the angels in the Santa Maria della Vittoria altarpiece, moreover, harks back to Bloemaert. 1 Because of the parallel tendencies found in the Santa Maria della Scala painting, in the Albano altarpiece and in the canvas for Santa Maria della Vittoria, one may date the St. Paul early in 1618. In the group of paintings executed between 1616 and 1620, can be placed Honthorst's The Liberation ofSaint Peter.

Peter which also might indirectly help to date Honthorst's first painting which shows more than just a passing interest in Caravaggio and his circle. 2 These figure types of Manfredi are further developed by Valentin de Boullogne, and in several instances Honthorst's characters resemble them quite closely, but the date of the Frenchman's arrival in Rome is uncertain as well as his work from the years prior to 1620, and hence it is safer to assume that Manfredi was the immediate source of inspiration for Honthorst's soldiers.

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