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159:, was thought to have been a portrait of Rembrandt. Flinck painted numerous works in the style of Rembrandt when there was a demand for his work in the 1630s and 1640s. The true origin of the painting was discovered after it was cleaned in 1913, and the signature believed to be by Rembrandt turned out to have been falsely added later. A signature beginning with the letter "f" was discovered. The painting had been reattributed to Flinck by 1928.
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his ears and a narrow gold chain round his neck. He has a loose brownish-green coat over a fine pleated shirt, adorned below with a gold chain having large pearls as pendants. Full light falls from the left across the face and on the white shirt. Light grey background. In a painted oval frame. Life size, half-length. Painted about 1634.
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253; B.-HdG. 148 -- He stands, turned to the left and looking in that direction. He is about twenty years of age, and has protruding lips and short hair in small curls. He holds a bow at his breast with his right hand. The quiver hangs over his shoulder by a rich gold chain. There are large pearls in
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Whether the young man painted by Flinck was actually from the Sudan, or not, it seems likely that the painter intended to show him as a living embodiment of the proud, martial spirit of the Nubian race – a poignant contrast to his actual situation, as a first-generation
African slave...The solemn,
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In the 1750 reproduction of
Visscher's portrait, held at the British Museum and published by George Pulley of London, the caption below describes the archer as an American Indian, replacing the word Moor for Indian, the words being interchangeable at the time:
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Rembrandt also portrayed people of
African origin, including black soldiers and figures in armour. It is not known whether the boy was a model, in the army, or a huntsman of a Dutch country estate. Art critic
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Possibly identical with "A Moor" occurring in the inventory of the effects of the
Amsterdam dealer Johannes de Renialme, June 27, 1657, No. 300 (valued at 12 florins) ; see Hofstede de Groot,
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thoughtful humanity of Flinck's portrayal makes it unusual, among early
Western European depictions of black Africans, suggesting at the very least a bond between the artist and the sitter.
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The 1750 reproduction of
Visscher's portrait, published by George Pulley of London, describes the subject as an Indian, presumably of American origin.
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151:, in 1848. Flinck had studied under Rembrandt in 1631–32, and his style had become so closely associated with him that for many years a
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171:", meaning "a head, a face, or expression". Tronies were not portraits of named people but character studies of exotic figures.
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Duke of
Buckingham, Stowe, August 15, 1848, No. 410 (Ľ263 : I I S., S. M. Mawson, for Lord Hertford).
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Two inscriptions for the portrait exist. The first, an engraving by
Cornelis Visscher (c.1648) reads:
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Traces of a signature occur below the bow to the right; oak panel, 26 inches by 20 inches.
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Thus Arm’d, the Indian with his Dart & Bow / Pursues with eager Eye, his
Woodland Foe
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66.2 cm × 50.8 cm (26.1 in × 20.0 in)
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225:—(Possibly), London, 1772 (Ľ5 : 17 : 6, Marquess of Carnarvon).
265:"Dus heft den Moor met pijl en Boogh / Den vyandt of het wilt in't oogh"
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For many years the painting was believed to have been the work of
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267:(Thus lifts the Moor his bow and arrow / The enemy to eye)
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In the
Wallace Collection, London, 1913 catalogue, No. 238."
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In the collection of the Marquess of Hertford, London.
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249:Portrait of a moor with a bow and arrow by
113:. The painting is in the collection of the
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353:"Young Archer, Govaert Flinck (c1639-40)"
167:The style of the painting is known as a "
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443:Catalog nr. 267, A Young Negro Archer
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472:. Albany, Press of J. Munsell. 1865.
132:on display at The Wallace Collection
514:Paintings in the Wallace Collection
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174:This painting was documented by
351:Jones, Jonathan (19 May 2001).
147:, and was purchased as such by
105:. The painting depicts a young
253:, c. 1650, after a drawing by
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484:"Print | British Museum"
470:"News from New-England, 1676"
456:"Print | British Museum"
182:"267. A YOUNG NEGRO ARCHER.
97:, painted about 1640 by the
519:Paintings by Govaert Flinck
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445:in Hofstede de Groot, 1914
433:in Hofstede de Groot, 1914
509:Paintings of black people
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16:Painting by Govert Flinck
284:wrote of the subject of
205:, pp. 152, 158 ; .
157:National Gallery, London
320:"Treasure of the Month"
217:Urkunden über Rembrandt
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430:A Young Negro Archer'
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389:Graham-Dixon, Andrew
210:Bethnal Green Museum
178:in 1915, who wrote:
391:(17 October 2004).
282:Andrew Graham-Dixon
397:by Govaert Flinck"
324:Wallace Collection
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241:Identity of sitter
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115:Wallace Collection
81:Wallace Collection
255:Cornelis Visscher
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176:Hofstede de Groot
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99:Dutch Golden Age
64:Oil on oak panel
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186:34; Dut. 376;
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109:dressed as an
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95:oil painting
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53:c. 1639–1640
49:c. 1639–1640
163:Description
121:Attribution
498:Categories
393:"ITP 233:
301:References
219:, No. 177.
69:Dimensions
145:Rembrandt
107:black boy
413:23 March
364:26 March
329:18 March
77:Location
101:artist
51: (
203:Michel
199:Dutuit
184:Bode 2
169:tronie
111:archer
93:is an
61:Medium
36:Artist
223:Sales
415:2014
366:2014
331:2014
46:Year
188:Wb.
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