The Universal Art of Samuel van Hoogstraten (1627-1678): Painter, Writer, and Courtier (Amsterdam University Press - Amsterdam Studies in the Dutch Golden Age)

Samuel van Hoogstraten was once not just certainly one of Rembrandt’s so much profitable students but additionally a flexible painter in his personal correct. His experiments in optical phantasm additionally attracted the curiosity of the normal scientists of his time, and he wrote the various first Dutch novels, performs, and a treatise on portray. This wealthy interdisciplinary examine examines how van Hoogstraten understood the connection among artwork, literature, and technology and the way those mirrored the overall perspectives of his time. Bringing to the fore hitherto unknown works, the booklet is a vital contribution to our realizing of van Hoogstraten’s lifestyles and art. 

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Forty three Samuel van Hoogstraten studied along with his father Dirk until eventually 1640. round 1643 he left for Amsterdam. There he grew to become a scholar of Rembrandt, besides Carel Fabritius, Abraham Furnerius and, a little later, Nicolaes Maes (who additionally hailed from Dordrecht). In 1647/1648 Van Hoogstraten lower back to his local urban. forty four as well as Biblical scenes (strongly less than the effect of Rembrandt initially), style items and pics, he had a distinct predilection for architectural work with perspectival components and for trompe-l’oeil photographs. His earliest painted works comprise a couple of man made self-portraits, reminiscent of Self-Portrait with Beret and Ermine Cloak [Fig. 24]45 and Self-Portrait with a Vanitas nonetheless existence, either dated 1644. forty six In those depictions the seventeen-year-old boy has a similar vast face, with snub nostril and entire lips, as within the current drawing. although, the nearest actual resemblance is to the a little bit extra reasonable Self-Portait with Golden Chain of 1645 [Fig. 25]. forty seven The even more juvenile expression of the face indicates, even if, that the drawing was once made just before those few photos, round 1643, quickly after Samuel had made his front in Rembrandt’s studio. a couple of determine drawings that are additionally believed so far from Van Hoogstraten’s pupil days are stylistically with regards to the sheet less than dialogue. for example, the slanted hatching associated by way of tiny strokes of the pen additionally happens on a sheet, Sitting Male Nude [Fig. 26], in Paris. forty eight This drawing is well dated as the version and his place are altogether similar to a print rendered by way of Rembrandt in 1646, in order that the coed may be visible to have labored in pen and ink while his grasp plied the etching stylus. forty nine A heavily comparable drawing is Van Hoogstraten’s Sitting girl Nude [Fig. 27]. 50 It exhibits similar hatching in addition to the very wary washes eighty five chapter three ben broos Fig. 27 Samuel van Hoogstraten, Sitting woman Nude (Geertje Dircks? ), c. 1646, pen and brush in brown, 262 x 186 mm, neither signed nor dated (c. 1646), Paris, Louvre (inv. nr. RF four. 193) that lend extra heavily outlined constitution to the determine. your time in the past i assumed i'll establish the feminine version as Geertje Dircks, who used to be a part of Rembrandt’s loved ones within the mid-forties. fifty one Samuel van Hoogstraten was once later an informant for the biographer Arnold Houbraken, who used to be in a position to describe Rembrandt’s ‘housewife’ as ‘good having a look, with a fetching body’. fifty two From learn to preparatory examine Van Hoogstraten endured to enhance the subject matter of the self-portrait after his scholar days. We see him once more the spectator from less than a huge brimmed hat in a drawing of 1649, during which he holds a wide banderole with a celebratory poem by means of his Dordrecht good friend Carel van Nispen [Fig. 28]. fifty three As with Rembrandt, Samuel’s painted self-portraits have been theatrical shows from the outset. He later defined that younger painters may still perform expressing feelings in entrance of a replicate, in order ‘to be performer and spectator on the comparable time’.

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