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313:"Saenredamâs church paintings...owe their poetry to his remarkable blend of fact and fiction. He began by making site drawings of buildings that record measurements and detail with archaeological thoroughness." This meticulous preparation helped him to create such accurate and enchanting paintings. The measurements aided him in using scientific linear perspective, just like
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Saenredam specialized in the representation of church interiors. These pictures were based on precise measurements of the building and meticulously rendered sketches, done on site, in pencil, pen, and chalk, after which washes were applied. Painting took place in the studio, often years after the
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In July 2012, a picture of
Saenredam's village at Assendelft was sold at Christie's for more than ÂŁ3,500,000. Six months earlier it was entered into a Christie's sale advertised as by a follower of Saenredam with an estimate of between ÂŁ3,000-5,000 before being withdrawn from sale.
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Alternatively, the paintings of church interiors by
Saenredam and other 17th-century Dutch painters have been interpreted as having less to do with religion and more with the new-found interest in perspective and with the Dutch interpretation (known as Dutch Classicism) of
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In any case, Saenredam wanted to record this time of change by documenting the countryâs buildings. Many artists before him had specialized in imaginary and fanciful architecture, but
Saenredam was one of the first to focus on existing buildings. According to the
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the church fell into
Protestant hands, it was âcleanedâ of Catholic influences. The altarpieces and statuary were removed, and the walls and ceiling were white washed.
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There is a small number of
Saenredam's works in British collections but the Utrecht Archives houses a large number of Saenredam's drawings. In 2000â2001, the
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at
Utrecht held a major exhibition of his drawings and paintings. Perhaps his best known works are a matching pair of oil paintings both titled
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churches, all usually ignored by
Saenredam. Unlike de Witte's, Saenredam's views are usually roughly aligned with a main axis of the church.
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in Fort Worth, Texas. In their simplicity and semi-abstract formalism, they foreshadow more modern works such as those of
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Saenredam's emphasis on even light and geometry is brought out by comparing his works with those of the rather younger
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whose sensuous naked goddesses are in great contrast with the work of his son. In 1612, Saenredam moved permanently to
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155:(1648), oil on panel. The work is typical of Saenredam's perspective paintings of whitewashed church interiors.
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293:(above) is typical. As a Catholic church the cathedral had been highly decorated. Then, in the
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La
Peinture Architecturale des Ecoles du Nord : les Intérieurs d'Eglises 1580-1720
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279:. Although Utrecht was the centre of the remaining Catholic population of the mainly
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115:(1649), oil on panel, with the gravestone of Saenredam's father in the foreground
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The
Metropolitan Museum of Art, New York. (retrieved on 2007-09-13)
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Saenredam's paintings frequently show medieval churches, usually
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shows him to be very short and hunch backed. He died in
Haarlem.
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441:"316 Pieter Saenredam comes home again (with Marten Jan Bok)"
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The John G. Johnson Collection: A History and Selected Works
429:), is the pinnacle of Dutch Classicism in the 17th century.
162:(9 June 1597 â buried 31 May 1665) was a painter of the
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Time Line of Art History, Low Countries, 1600-1800 A.D.
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Saenredam was a contemporary of the painter-architects
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179:Interior of the Sint-Odulphuskerk in Assendelft
113:Interior of the Sint-Odulphuskerk in Assendelft
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153:Interior of the Church of St Bavo in Haarlem
421:(Amsterdam City Hall), now better known as
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166:, known for his distinctive paintings of
498:Works and literature on Pieter Saenredam
387:6 artworks by or after Pieter Saenredam
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173:Interior of St Bavo's Church in Haarlem
507:by Pieter Jansz. Saenredam (cat. 599)
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213:. In 1623, he became a member of the
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144:on the left. Pen and brush on paper.
466:Das NiederlÀndische Architekturbild
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505:Interior of Saint Bavo, Haarlem
476:. Pandora Publishers Wijnegem.
290:St. Martin's Cathedral, Utrecht
126:St. Martin's Cathedral, Utrecht
27:Painter of the Dutch Golden Age
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369:Pieter Jansz. Saenredam entry
209:, where he became a pupil of
472:Maillet, Bernard G. (2012).
138:View of the Markt in Haarlem
46:Pieter Saenredam in 1628 by
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544:Dutch Golden Age painters
427:Royal Palace of Amsterdam
215:Haarlem Guild of St. Luke
170:church interiors such as
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332:. One hangs in London's
129:(1636), drawing on paper
502:Michele L. Frederick, â
160:Pieter Jansz. Saenredam
34:Pieter Jansz. Saenredam
277:Protestant Reformation
203:Jan Pietersz Saenredam
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140:(1629), including the
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101:Jan Pietersz Saenredam
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549:Dutch male painters
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311:J. Paul Getty Trust
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334:National Gallery
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284:United Provinces
254:Emanuel de Witte
230:Jacob van Campen
223:Jacob Van Campen
211:Frans de Grebber
201:and draughtsman
164:Dutch Golden Age
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238:Pieter Post
176:(1636) and
168:whitewashed
87:Nationality
72:31 May 1665
58:9 June 1597
523:Categories
356:References
273:iconoclasm
269:Romanesque
199:printmaker
192:Assendelft
62:Assendelft
346:Feininger
330:, Utrecht
281:Calvinist
258:Calvinist
186:Biography
142:Hoofwacht
419:Stadhuis
342:Mondrian
328:Buurkerk
303:Palladio
371:in the
275:of the
207:Haarlem
80:Haarlem
509:,â in
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446:23 May
391:Art UK
265:Gothic
236:, and
97:Parent
425:(the
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91:Dutch
478:ISBN
448:2019
393:site
344:and
69:Died
55:Born
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373:RKD
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