By David de Witt
"This vintage monograph reconstructs Van Noordt's oeuvre with integrity and thoroughness." - Eric Jan Sluijter, chair, background of Renaissance and Early glossy artwork, college of Amsterdam
Jan van Noordt (c.1623/4-1676) created the most flamboyant and expressive work of the Dutch Golden Age, comparable to Susanna and the Elders and Portrait of a Boy with a Falcon. but little was once identified approximately his existence and the various misattributions of his works have hidden his value. David de Witt untangles truth from fiction within the first entire examine of the lifestyles and paintings of Jan van Noordt.
De Witt bargains a close biography in response to an intensive overview of the documentary proof. He strains Van Noordt's origins again to a admired musical kin, information his creative improvement below the tips of well-known Amsterdam painter Jacob Adriaensz Backer, and divulges his synthesis of the sorts of the 2 dominant Netherlandish artists, Rubens and Rembrandt. utilizing a scientific research of strategy, demeanour, and method of shape, de Witt proves that over part the work and drawings shortly attributed to Van Noordt will not be his paintings - almost recasting the accomplishments of an artist whose vivid, usually bold works problem our thought of seventeenth-century Dutch paintings.
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Additional info for Jan van Noordt: Painter of History and Portraits in Amsterdam
She anchors the composition, this role presaging that of Iphigenia in the Göttingen picture. Its comparatively less resolved use of light places it around 1650–55. The date of 1659 also appears on another, signed painting by Van Noordt: Portrait of a Woman, last in The Hague (cat. 46). Although a portrait, it bears some of the traits just observed in the Göttingen Cimon and Iphigenia. The sitter is isolated against the background by a strong light falling on her face. This effect is complemented by the drama of movement in the background, in ﬂuttering drapery and billowing clouds articulated in calligraphic strokes.
13),18 Venus and Cupid, in Jerusalem (ﬁg. 14), dated 1645, and his pendant portrait of a couple, in Raleigh, of 1646 (ﬁg. 19 In the wake of Backer’s death in 1651, Flinck carried on in a similar style, and was able to gain the commission for the decorative cycle of paintings for the Amsterdam City Hall. His grand depiction Solomon Asks God for Wisdom of 1658 (ﬁg. 20 By this time, Flinck appears to have been looking beyond Rubens to a younger generation of Flemish artists whose work incorporated the smooth abstraction and relative calm of classicism.
18). This complex, tumultuous composition is anchored by the imposing ﬁgure of the goddess in the centre, while other ﬁgures conform to sweeping arcs that reﬂect her pose and the position of her limbs and torso. With such interrelationships, Van Noordt was working toward a greater overall effect, such as he could observe in the grand achievements of the Flemish Baroque. However, the Braunschweig Juno is much larger than anything Van Noordt did otherwise, and the chaotic result suggests he overreached his abilities.