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concentration of light on a small surface in contrast with a broad expanse of gloom. The key of his harmonies remained for a time in the scale of greys, but his treatment is dry and careful in a style which shuns no difficulties of detail. He shows us the cottages, inside and out: vine leaves cloak the poverty of the outer walls; indoors, nothing decorates the patchwork of rafters and thatch, the tumble-down chimneys and the ladder staircases, the rustic Dutch home of those days. The greatness of Ostade lies in how often he caught the poetic side of the peasant class in spite of its coarseness. He gave the magic light of a sun-gleam to their lowly sports, their quarrels, even their quieter moods of enjoyment; he clothed the wreck of the cottages with colourful vegetation.
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555:(1910) at over 900. At his death, the stock of his unsold pieces was over 200. His engraved plates were put up to auction with the pictures. Fifty etched plates, most of them dated 1647–1648, were disposed of in 1686. there are 220 of his pictures in public and private collections, of which 104 are signed and dated, while seventeen are signed with the name but not with the date. The prices which Ostade received are not known; but pictures which were worth £40 in 1750 were worth £1,000 a century later, and Earl Dudley gave £4,120 for a cottage interior in 1876.
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not succeed here in giving dramatic force and expression; his shepherds were without much emotion, passion or surprise. His picture was an effect of light, and masterly as such, in its sketchy rubbings of dark brown tone relieved by strongly impasted lights, but without the very qualities which made his usual subjects attractive.
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At
Amsterdam we have the likeness of a painter, sitting with his back to the spectator, at his easel. The colour-grinder is at work in a corner, a pupil prepares a palette, and a black dog sleeps on the ground. A replica of this picture, with the date 1666, is in the Dresden gallery. Both depictions
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of the
Brunswick Museum: angels, appearing in the sky to Dutch boors half-asleep amidst their cattle, sheep and dogs in front of a cottage, recall at once the similar subject by Rembrandt, who effectively lighted the principal groups by rays propelled to earth from a murky sky. Ostade, however, did
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is a striking picture of a father sitting in state, his wife at his side, surrounded by his son, five daughters, and a young married couple in a handsomely furnished room. By an old tradition, Ostade here painted himself and his children in holiday attire; but the style is much too refined for the
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and in the atmosphere and dwellings peculiar to each region. Brabant has more sun and more comfort; Teniers, in consequence, is silvery and sparkling, and the people he paints are fair specimens of their culture. Holland, in the vicinity of
Haarlem, seems to have suffered much from war; the air is
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into his depictions than did his colleague; but the type is the same as Ostade's. During the first years of his career, Ostade tended toward the same exaggeration and frolic as his comrade, though he is distinguished from his rival by a more general use of light and shade, especially a greater
418:; but there is nothing holy in the surroundings, nothing attractive, indeed, except the wonderful Rembrandtesque transparency, the brownish tone, and the admirable keeping of the minutest parts. Ostade was more at home in a similar effect applied to the commonplace incident of the
195:. Aged 26, he joined a company of the civic guard at Haarlem, and at twenty-eight he married. His wife died two years later in 1640. In 1657, "as a widower", he married Anna Ingels. He again became a widower in 1666. He opened a workshop and took on pupils. His notable pupils were
422:, one of the masterpieces of 1643, and once in the Gsell collection. In this and similar subjects of the previous and succeeding years, he returned to the homely themes in which his power and wonderful observation had made him a master. He does not seem to have gone back to
299:. Like them, he spent his life in 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 of
414:: a mother tending her cradled child, her husband sitting nearby, beside a great chimney; the darkness of a country loft dimly illumined by a sunbeam shining on the casement. One might think the painter intended to depict the
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are supposed to represent Ostade himself, but unfortunately we see the artist's back and not his face. In an etching (Bartsch, 32), the painter shows himself in profile at work on a canvas. Two of his latest dated works, the
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234:, however, when he was convinced to stay by the art collector Konstantyn Sennepart, in whose house he stayed, and where he made a series of colored drawings, that were later bought for 1300
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of 1635 in the
Liechtenstein collection at Vienna. Later on, he uses the long s (ſ), and occasionally he signs in capital letters. His pupils are his own brother Isaack,
253:, where Houbraken saw them and fell in love with his portrayals of village life. Jonas Witsen (1676–1715) was the man who convinced Houbraken to move to Amsterdam from
257:. He had been the city secretary and was probably his patron. His successor, Johan van Schuylenburgh, who became city secretary in 1712, was the man to whom Houbraken
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The signatures of Ostade vary at different periods, but the first two letters are generally interlaced. Up to 1635, Ostade writes himself
Ostaden, e.g. in the
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galleries), half-lengths of fishmongers and bakers, cottage brawls, scenes of gambling, itinerant players and quacks, and ninepins players in the open air.
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It was natural, given the tendency to effect which marked Ostade from the first, that he should have been fired by emulation to rival the masterpieces of
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in 1872, it was easy to study the steel-grey harmonies, the exaggerated caricature of his early works between 1632 and 1638. There is a picture in the
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230:(1672), he packed up his goods with the intention of fleeing to Lübeck, which is why Houbraken felt he had family there. He got as far as
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moist and hazy, and the people depicted by Ostade are short and ill-favoured, marked with adversity's stamp in feature and dress.
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175:, they adopted the name "van Ostade" as painters. According to the RKD, he became a pupil in 1627 of the portrait painter
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Dagelijckse aantekeninge, by
Vincent Laurensz van der Vinne, with an introduction by Bert Sliggers Jr., Haarlem, 1979
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475:(Louvre, 1653). His art may be studied in the large series of dated pieces which adorn every European capital from
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Century
Magazine by Timothy Cole Volume 48, Issue 2 (June, 1894) Old Dutch Masters. Adriaan Van Ostade.
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collections, were executed in 1676 without any sign of declining powers. He died in 1685 in
Haarlem.
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In 1662 and again in 1663, he is registered as deacon of the St. Luke guild in
Haarlem. In the
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One or more of the preceding sentences incorporates text from a publication now in the
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Brouwer, who painted the peasant in his frolics and passions, brought more of the spirit of
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About 1638 or 1640, the influence of
Rembrandt suddenly changed his style. He painted the
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De archiefbescheiden van het St. Lukasgilde te Haarlem 1497–1798, Hessel Miedema, 1980,
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Engraved portrait of Adriaen van Ostade, shown with a few of his more famous works, by
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has a large number, and many a good specimen lies hidden in private collections in
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Works by Adriaen van Ostade in the Museum of New Zealand Te Papa Tongarewa
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and like him, spent most of their lives in Haarlem. He thought they were "
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Works by Adriaen van Ostade in the University of Michigan Museum of Art
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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which is only surpassed in arrangement and colour by Rembrandt's
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at Vienna; cottage scenes of 1635 and 1636 in the museums of
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The number of Ostade's pictures was given by the art dealer
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The humor in some of these pieces is contagious, as in the
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The painter with the De Goyer family (around 1652), at the
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Works by Adriaen van Ostade in the Art Museum of Estonia
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illustrations until 1667, when he produced an admirable
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Ostade was the contemporary of the Flemish painters
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734:. Vol. 20 (11th ed.). pp. 355–356.
410:In 1642 he painted the beautiful interior at the
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93:10 December 1610 – buried 2 May 1685) was a
830:A book with etchings by Andriaen van Ostade
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795:69 artworks by or after Adriaen van Ostade
390:The painter in his workshop (selfportrait)
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624:Adriaan & Izaak van Ostade biography
49:of all important aspects of the article.
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366:of 1637 in the Liechtenstein palace at
45:Please consider expanding the lead to
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636:Digital library for Dutch literature
503:of the same year at the Louvre, the
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259:dedicated the first volume of his
139:in his "Schouburg", volume I, 1718
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344:Countryman Having his Tooth Drawn
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599:Customers Conversing in a Tavern
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825:Literature on Adraen van Ostade
37:may be too short to adequately
159:, a weaver from the hamlet of
47:provide an accessible overview
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238:(along with some drawings by
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820:"Adriaen van Ostade online"
760:Among the treasures of the
189:Joost Cornelisz Droochsloot
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531:, noteworthy items in the
855:Dutch Golden Age painters
585:Barber Extracting a Tooth
434:at the Louvre, or by the
293:David Teniers the Younger
193:Haarlem Guild of St. Luke
16:Dutch painter (1610–1685)
517:Fiddler and his Audience
731:Encyclopædia Britannica
507:of 1670 at Cassel, the
436:Woodcutter and Children
519:of 1673 at the Hague.
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462:Rijksmuseum, Amsterdam
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276:"Cutting the Feather"
197:Cornelis Pietersz Bega
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91:Adriaen Jansz Hendricx
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875:Painters from Haarlem
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420:Slaughtering of a Pig
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348:Liechtenstein Gallery
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865:Dutch genre painters
714:Crowe, Joseph Archer
209:Michiel van Musscher
114:Peasants in a Tavern
860:Dutch male painters
718:Konody, Paul George
493:Rustics in a Tavern
285:Museum of Fine Arts
181:Jan Miense Molenaer
157:Jan Hendricx Ostade
666:Adriaen van Ostade
634:, courtesy of the
572:Richard Brakenburg
473:La Caze Collection
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438:in the gallery of
432:Carpenter's Family
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207:, Frans de Jongh,
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87:Adriaen van Ostade
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870:Dutch printmakers
553:Hofstede de Groot
505:Tavern Court-yard
485:Buckingham Palace
458:Resting Travelers
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213:Isaac van Ostade
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137:Arnold Houbraken
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34:lead section
850:1685 deaths
845:1610 births
765:painter of
511:of 1671 at
495:of 1662 at
381:, The Hague
328: [
325:Jakob Gsell
281: 1660
247: [
121: 1635
99:genre works
97:painter of
839:Categories
639:(in Dutch)
630:(1718) by
606:References
549:John Smith
515:, and the
362:; and the
313:Frans Hals
287:, Budapest
185:Jacob Duck
177:Frans Hals
149:Frans Hals
123:), at the
74:Frans Hals
720:(1911). "
537:Ellesmere
533:Ashburton
513:Amsterdam
497:The Hague
448:Brunswick
444:Hermitage
396:, Dresden
356:Darmstadt
352:Karlsruhe
321:Rembrandt
283:, at the
261:Schouburg
255:Dordrecht
232:Amsterdam
221:Jan Steen
165:Eindhoven
153:Lubekkers
55:July 2020
39:summarize
560:Bagpiper
527:and the
428:Nativity
416:Nativity
228:rampjaar
127:, Munich
722:Ostade
711::
668:in the
489:England
471:of the
360:Dresden
305:Holland
301:Brabant
236:florins
173:Haarlem
799:Art UK
781:
762:Louvre
748:
705:
570:, and
543:Legacy
499:, the
481:London
440:Cassel
424:gospel
412:Louvre
368:Vienna
358:, and
336:Vienna
219:, and
169:Isaack
161:Ostade
767:boors
342:of a
332:]
295:and
251:]
242:) by
163:near
801:site
779:ISBN
746:ISBN
724:s.v.
535:and
446:and
303:and
268:Work
105:Life
728:".
670:RKD
626:in
479:to
841::
716:;
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654:^
614:^
574:.
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483:.
354:,
330:de
278:c.
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249:nl
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