The smoker at the window
| Reference: | S36077 |
| Author | Adriaen van OSTADE |
| Year: | 1667 ca. |
| Measures: | 151 x 180 mm |
€1,250.00
| Reference: | S36077 |
| Author | Adriaen van OSTADE |
| Year: | 1667 ca. |
| Measures: | 151 x 180 mm |
€1,250.00
Description
Etching, 1667 circa, signed with the artist's name 'Av. ostade' at lower left.
Example of the third state of four, with fine cross-hatchings on the sleeve at the level of the tankard. Godefroy doubtfully dates the plate at 1667.
The original painting that inspired this print was formerly in the collection of William Baillie.
Adriaen van Ostade, or Adriaen Hendricx (December 10, 1610 - May 2, 1685), was a Dutch painter and engraver. He was the oldest son of Jan Hendricx Ostade and older brother of Isaak van Ostade. According to Jacobus Houbraken, from 1627 van Ostade was a pupil of Frans Hals, at the time also a master of Adriaen Brouwer and Jan Miense Molenaer. A painter of genre scenes, he favored figures of peasants, rustic interiors and tavern patrons. Also appreciated for his watercolor drawings and etchings, he executed often small-scale genre paintings with almost Rembrandtian lighting effects, in which witty and slightly caricatured figures appear.
Ostade was a contemporary of Flemish painters David Teniers the Younger and Adriaen Brouwer. Like them, he devoted himself to the delineation of ordinary life, depicting tavern scenes, village fairs, and country quarters. Between Teniers and Ostade the contrast lies in the different condition of the agricultural classes in Brabant and Holland and in the atmosphere and dwellings peculiar to each region. Brabant has more sunshine and comfort; Teniers, consequently, is silvery and glittering, and the people it paints are exemplars of culture. Holland, in the vicinity of Haarlem, seems to have suffered greatly from the war; the air is humid and hazy, and the people portrayed by Ostade are short and unfortunate, marked by the imprint of adversity in their features and clothing. Ostade's greatness lies in the fact that he often captured the poetic side of the peasant class despite its roughness. He gave the magical light of a ray of sunshine to their humble sports, their quarrels, even their quieter moods of amusement; he clothed cottage ruins with colorful vegetation.
A fine impression, printed on contemporary laid paper, with watermark, trimmed at margins, in excellent condition.
Bibliografia
Hollstein 10.III (IV); Dutuit 10 II/III; Bartsch I.355.10; Godefroy, p. 62 n. 10.
Adriaen van OSTADE (Haarlem 1610 - Amsterdam 1684)
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Adriaen van Ostade and his brother Isack van Ostade were among the eight children of Jan Hendricx van Eyndhoven, probably a linen-weaver, and Janneke Hendriksen, both of whom had moved to Haarlem from the Eindhoven area. In an active career that spanned more than 50 years, Adriaen became one of the most prolific Dutch artists of the 17th century. In his principal speciality, peasant and low-life genre painting, he enjoyed a leading position and considerable influence. The subjects of his single- and multi-figured compositions include, alongside the village fair (kermis) and other festivals, scenes of play and diversion both inside and outside the village inn, scenes of family life, domestic and agricultural work, and schools and various trades (cobbling, weaving, baking, barbering, market trading, peddling, alchemy etc). He situated his own work as a painter within the same humble, artisanal context in his several versions of the Painter’s Workshop. He also produced several single and group portraits, as well as a few sumptuous still-lifes. Isack, in the course of a brief but active career of only 11 years, produced an extraordinary volume of work, quite as original and varied as Adriaen’s, including some outstanding winter landscapes. Once he had attained artistic maturity, he began to exert an influence of his own on his elder brother, who was apparently his first teacher. Both artists were prolific and accomplished draughtsmen. (b Haarlem, bapt 10 Dec 1610; d Haarlem, 27 April 1685). Painter, draughtsman and etcher. According to Houbraken’s rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as ‘known far and wide’ as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade’s always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632. Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards (1633; St Petersburg, Hermitage). He was a member of the Haarlem Guild of St Luke by 1634 at the latest.
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Adriaen van OSTADE (Haarlem 1610 - Amsterdam 1684)
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Adriaen van Ostade and his brother Isack van Ostade were among the eight children of Jan Hendricx van Eyndhoven, probably a linen-weaver, and Janneke Hendriksen, both of whom had moved to Haarlem from the Eindhoven area. In an active career that spanned more than 50 years, Adriaen became one of the most prolific Dutch artists of the 17th century. In his principal speciality, peasant and low-life genre painting, he enjoyed a leading position and considerable influence. The subjects of his single- and multi-figured compositions include, alongside the village fair (kermis) and other festivals, scenes of play and diversion both inside and outside the village inn, scenes of family life, domestic and agricultural work, and schools and various trades (cobbling, weaving, baking, barbering, market trading, peddling, alchemy etc). He situated his own work as a painter within the same humble, artisanal context in his several versions of the Painter’s Workshop. He also produced several single and group portraits, as well as a few sumptuous still-lifes. Isack, in the course of a brief but active career of only 11 years, produced an extraordinary volume of work, quite as original and varied as Adriaen’s, including some outstanding winter landscapes. Once he had attained artistic maturity, he began to exert an influence of his own on his elder brother, who was apparently his first teacher. Both artists were prolific and accomplished draughtsmen. (b Haarlem, bapt 10 Dec 1610; d Haarlem, 27 April 1685). Painter, draughtsman and etcher. According to Houbraken’s rather unreliable biography, he was a pupil concurrently with Adriaen Brouwer of Frans Hals in Haarlem. Hals influenced him very little, whereas Brouwer, who was described as ‘known far and wide’ as early as 1627, had a decisive influence on the evolution of Adriaen van Ostade’s always idiosyncratic portrayal of peasant life. The first documentary mention of Adriaen van Ostade as a painter is in 1632. Most of his paintings are signed and dated, the earliest firmly dated example being the Peasants Playing Cards (1633; St Petersburg, Hermitage). He was a member of the Haarlem Guild of St Luke by 1634 at the latest.
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