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both time and space, the more imaginary his paintings became as he incorporated bright colors and exotic elements. Those paintings executed in The
Netherlands have brighter colors with dark foliage framing an idealized baroque composition. These works are in striking contrast to the stark, realistic qualities of his early work. The landscapes are open, full of resources, and most important, conquered. They evolve to show a more condensed view and desired depth with greener flora, bluer skies, and brighter horizons. However, the horizontal blues advancing towards the middle distance accentuate the difference in color. This deep blue may be a disintegration of the green pigment, which results from the disappearance of yellows, while the blues remain.
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312:, and technique. Wolfgang Stechow describes Post’s landscapes as ‘the old bottle filled with new wine’. These works depict specific locations in Dutch Brazil, identifiable because of the representation of recognizable topography and buildings; most also include water. Post includes a selection of Brazilian vegetation, and occasionally features birds and other small animals in the foreground. These may have been inspired by his traveling companion, the naturalist
350:. Typically, these figures are slaves. Unlike his Brazilian work, the figures are no longer subjects placed in the foreground; instead, they seem to become part of the landscape. Four of the six paintings completed in Brazil only have a few figures, with the exception of Porto Calvo (1639) depicting more, and The River of São Francisco (1638), which does not have any figures. While Post was in charge of documenting the land,
230:. It is likely that a Dutch master also taught him before he left for Brazil, though he was not registered in the guild until after his return. Although it is not universally accepted, Post scholar Erik Larsen believes De Molijn was the master under whom Post studied, because Molyn is mentioned in Houbraken as the teacher of several other landscape painters, such as
316:. The skies are a curious gray, seemingly heavy with rain, an aspect that is emphasized by the fact that they take up at least half the canvas. The subdued color scheme, especially when compared to his post-Brazilian production, lends them a somber almost reverential quality characteristic of Dutch tonal landscapes from the 1620s to the 1640s.
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Post continued to paint
Brazilian scenes until 1669, and the lack of dated paintings in the 1670s suggests he stopped ten years before his death. Whitehead and Boeseman claim that Post developed an alcohol problem, which may be the reason, so little is known of the last decade of his life. He died in
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Post continued to paint images of Brazil upon his return to The
Netherlands in 1642; however, his work undergoes a radical transformation. In addition to Post’s wonderful imagination, the evolution of his work may also be consequent of a change in popular style. The further he was from Brazil, in
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Post produced approximately 140 paintings during his lifetime. Of these, nearly half are dated, making it possible to track the evolution of his work between 1637, the day he landed in Brazil, and 1669, the date of his last letter. The paintings Post produced while he was in Brazil drastically
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Upon Post’s return to The
Netherlands, he also increased the number of figures and incorporated greater diversity into his work. Nearly every painting he completed in The Netherlands includes a large group of people interacting in some way, whether they are dancing or working in the
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in 1646, and was appointed officer in 1656–7 and 1658. In 1650, he married
Jannetje Bogaert, the daughter of Professor Salomon Bogaert of the Haarlem ‘Latijnsche School’. He had two sons, who died before his death and one daughter that did survive him, but died shortly thereafter.
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differ from those he painted after he left Brazil. While he was in Brazil, he produced a large number of sketches and etchings, but only completed six paintings. They are the paintings dated from 1637–1640, and later presented by
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259:. At the time, Haarlem experienced an outbreak of the plague, so that his going to Brazil may have seemed a good option. Post lived in Brazil from 1637 to 1644. He received 800
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He was born in
Haarlem circa 1612 and he most likely received his early training from his father and his elder brother. He was a contemporary of
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Post won a commission at court likely through the connections of his older brother and was encouraged to travel abroad by
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Rebecca Parker
Briennen, "Who Owns Frans Post? Collecting Frans Post's Brazilian Landscapes" in Michiel van Groesen, ed.
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Brienen, Rebecca Parker, "Who Owns Frans Post? Collecting Frans Post's
Brazilian Landscapes" in Michiel van Groesen, ed.
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Brienen, Rebecca Parker, "Albert
Eckhout and Frans Post: Two Dutch Artists in Colonial Brazil" in Edward Sullivan, ed.
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Post was born in
Haarlem and was the son of Jan Janszoon Post, a highly regarded glass painter trained in
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His Brazilian works strongly resemble the landscapes by his Haarlem contemporaries in terms of
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576:, Volume 124, Number 951. The Burlington Magazine Publications, Ltd., June, 1982. Page 340.
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Sousa-Leão, Joaquim de. Frans Post. (Amsterdam: A.L. Van Gendt & Company, 1973), 18.
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Paul H. Rem and Frederik J. Duparc. "Post". In Grove Art Online. Oxford Art Online,
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The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem
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http://www.oxfordartonline.com/subscriber/article/grove/art/T068936pg2
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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159:(17 November 1612 – 17 February 1680) was a painter during the
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See the articles by Ernst van den Boogaart and by Elmer Kolfin in
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489:"A Brazilian Landscape, The Metropolitan Museum of Art, New York"
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Larsen, Erik. "Supplements to the Catalogue of Frans Post". In
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412:. New York: Cambridge University Press 2014, pp. 229–247.
199:, and Francijntje Verbraken of Haarlem. His elder brother was
464:"Frans Post (1612–1680): Brazil at the court of Louis XIV"
505:. New York: Cambridge University Press 2014, pp. 229–247.
179:. In 1636 he traveled to Dutch Brazil in northeast of
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Dutch Landscape Painting of the Seventeenth Century
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420:Frans Post (1612–1680): Catalogue Raissoné
405:. New York: Guggenheim Museum 2001, 62–74.
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257:John Maurice, Prince of Nassau-Siegen
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547:Digital library for Dutch literature
429:. Amsterdam: Colibris Editora 1962.
183:at the invitation of the governor
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320:Brazilian landscapes from Haarlem
269:Frederick Henry, Prince of Orange
175:, during and after the period of
427:Frans Post, interprète du Brésil
263:for a landscape painting in the
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374:List of paintings by Frans Post
185:Johan Maurits van Nassau-Siegen
145:Johan Maurits van Nassau-Siegen
280:Haarlem and was buried in the
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250:Museu Nacional de Belas Artes
466:. 2006-10-05. Archived from
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503:The Legacy of Dutch Brazil
410:The Legacy of Dutch Brazil
389:Ricardo Brennand Institute
663:Dutch Golden Age painters
369:Dutch Golden Age painting
273:Haarlem Guild of St. Luke
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678:People from Dutch Brazil
673:Dutch landscape painters
432:Sousa-Leão, Joaquim de.
418:and Bia Corrêa do Lago,
379:Gillis Peeters the Elder
573:The Burlington Magazine
515:RKD entry on Frans Post
443:. London: Phaidon 1968.
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284:on February 17, 1680.
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36:Portrait of Frans Post
683:Painters from Haarlem
416:Corrêa do Lago, Pedro
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232:Allart van Everdingen
535:Frans Post biography
434:Frans Post 1612–1680
403:Brazil Body and Soul
226:, and in particular
216:Salomon van Ruysdael
668:Dutch male painters
439:Stechow, Wolfgang.
163:. He was the first
157:Frans Janszoon Post
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114:Notable work
70:(1680-02-17)
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658:1680 deaths
653:1612 births
348:sugar mills
306:composition
265:West Indies
201:Pieter Post
83:Nationality
647:Categories
634:Frans Post
541:(1718) by
474:2008-05-10
449:References
331:Pernambuco
244:Pernambuco
208:Frans Hals
167:artist to
40:Frans Hals
23:Frans Post
301:in 1679.
299:Louis XIV
191:Biography
140:Patron(s)
93:Education
358:See also
328:View of
261:guilders
246:, Brazil
242:View of
173:Americas
165:European
125:Movement
107:Painting
220:Adriaen
171:of the
129:Baroque
76:Haarlem
58:Haarlem
295:Nassau
197:Leiden
310:style
212:Jacob
87:Dutch
288:Work
222:and
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65:Died
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47:Born
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