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504:, below). Ketel seems to have kept a stock of drawings of poses, from which a patron might choose, and which could be worked up by studio assistants without the sitter's presence being required. Van Mander records that around 1600 he at times discarded his brush and painted directly with his fingers, and even developed the trick of painting with his feet and toes—presumably just for short periods. This may have been to amuse himself and his sitters, to relieve boredom. An alternative, perhaps more likely, explanation, is that he was forced to do so by a progressive paralysis, perhaps
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485:—and set an Amsterdam tradition; Hals's Harlem groups are from knee-height only, but his great Amsterdam group is full-length. However, Ketel, like Hals, spread his sitters laterally at irregular intervals, but kept them all in a row at the front of the picture space; it was left to Rembrandt to spread his subjects deep into the picture-space as well. The picture has been trimmed on all sides, especially above; originally the city gate in front of which the group are standing was much more prominent, and in this respect closer to the
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149:, which included mythological subjects, but after he left France he is known almost entirely as a portrait-painter. Neither England nor Holland had much demand for large history paintings during his lifetime, and none of Ketel's histories or allegorical paintings are known to have survived intact, although drawings and prints survive. He did however significantly influence the development of the largest type of painting commonly produced in the
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400:. Attribution as to title of this work, this may be the lost "Triumph of Wisdom and Prudence over Force" 1580, painted in England. (Miedema-Schulting 1988) Referred to as "Allegory", this fragment, which was recently discovered, today forms, together with the reverse of no. 55, the sole remnant of Ketel's rich production of painted allegories, described in detail in van Mander in his Schilder-Boeck of 1604 .
496:, Ketel was the leading portraitist in Amsterdam for many years, and one of the generation of Dutch portrait-painters whose increasingly sophisticated work laid the foundations for their much more famous successors. Whereas in England portraits in oils remained mostly confined to the court and gentry, in the Netherlands they were already common among the prosperous mercantile classes. Ketel lived across
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Finding no market in
England for his preferred allegorical subjects, Ketel returned to the Low Countries as his son Rafaël was born in Amsterdam in 1581. Ketel introduced the full-length group portrait format to the Dutch burghers with great success, and seems to have been mostly commissioned as a
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500:, where he bought in 1593 a house on the so-called "Velvet Canal". Both Ketel and Pietersz developed an Amsterdam style often marked by depicting sitters "very close to the picture plane, from an unusual angle, and cropped closely by the frame" (see
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sat to him in 1578. Ketel's large output in these years, much of which is now lost, can be estimated by the quantity of his known commissions. In 1577 Ketel was commissioned to paint a series of 19 portraits for the
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Apparently, all of Ketel's allegorical paintings have been lost, however, a formerly lost masterpiece was discovered and exhibited at the Tate Museum, London, in 1995, in a major exhibition entitled
319:. This marriage produced one son, Andries, who died at a very young age. Ketel suffered a stroke and made his will in November 1613, witnessed by Hendrick de Keyser. He died on 8 August 1616.
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portraitist. The Dutch taste emerging from the revolt was hostile to
Mannerist allegory and even to simpler mythological subjects in art, which were widely associated with the hated
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which was entering a new phase that destabilised daily life throughout the
Netherlands. Next, Ketel is recorded in England, and was one of several exiled Netherlandish
471:, the earliest Dutch group portrait where the figures are shown standing and full length, "greatly influenced later artists of militia pieces, such as Rembrandt in his
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Ketel quickly established himself as a successful painter of portraits in London. Karel van Mander records that Ketel was patronized by the prosperous German
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and van der Voort (born ca. 1576) is thought to have been a pupil of Ketel; they all became successful
Amsterdam portraitists and commissioned with
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on 18 March 1548 as an illegitimate child of
Elisabeth Jacobsdr. Ketel and the art collector Govert Jans van Proyen. The famous Gouda glass painter
454:, the Dutch genre of imaginary portraits of mythological or historical persons. A van Mander story describes a peasant trying to explain a Ketel
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encouraged him to start painting as a student of his uncle, Cornelis
Jacobsz. At the age of 18, he became a student of the
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He returned to Gouda, but the economy there was severely hit by the occupation of the city in 1572 by the
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Lionel Cust, "Notes on
Pictures in the Royal Collections-XXIV. On Some Portraits by Cornelis Ketel"
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Records indicate that Ketel charged £1 for a head-and-shoulders portrait and £5 for a full-length.
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of
Elizabeth in Siena, which Strong suggested might be by Ketel, is now known to be the work of
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by
Cornelis Ketel, 1588. The painting has been trimmed on all sides, especially at the top
977:, Mauritshuis/National Gallery/Waanders Publishers, Zwolle, p.180 (also 20, 23, 25), 2007,
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1040:: "Notes on Pictures in the Royal Collections-XXIV. On Some Portraits by Cornelis Ketel"
933:, who was probably trained by Cornelis van der Voort, who was probably trained by Ketel
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in the 1570s. Cornelis Ketel married
Aeltgen Gerrits in London in 1573. The biographer
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dated 1579, now widely dispersed, has been identified as the work of Cornelis Ketel.
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After the death of wife in 1602, he remarried in 1607 to Aeltge Jans, but not in a
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Judson 1963; Slive:7; Nicolas Galley, "Cornelis Ketel: A Painter without a Brush"
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389:. Recently, a series of head-and-shoulders paintings of members of the family of
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Judson, J. Richard, "A New Insight into Cornelis Ketel's Method of Portraiture"
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is in the collection of James O. Belden, Washington, DC (Galley 2004:88, fig.1).
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J. Richard Judson, "A New Insight into Cornelis Ketel's Method of Portraiture"
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Some of Ketel's history paintings are documented in various ways, including a
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Painters and Their Works: A Dictionary of Great Artists who are Not Now Alive
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Associated by Cust (1912) with portraits of Sir Christopher formerly with
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introduced him to court circles. Hatton commissioned a portrait and
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1051:, Zwolle: Mauritshuis/National Gallery/Waanders Publishers 2007,
674:. Oxford University Press, Inc., 2002. Answers.com 28 Jan. 2008.
1150:, 4th Edn, 1978, Penguin Books (now Yale History of Art series)
369:, one of which is the famous (but very damaged) full-length of
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was certainly a pupil, and Van Mander mentions more. One was
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According to Ketel's biography, written by his contemporary
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Dynasties: Painting in Tudor and Jacobean England 1530-1630
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Quentin Buvelot in: Rudi Ekkart and Quentin Buvelot (eds),
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Thomas Pead, 1578. The skull is inscribed "Respice finem".
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Dynasties. Painting in Tudor and Jacobean England 1530-1630
205:, where he was working in 1566, in the final years of the
1128:, 1969, Routledge & Kegan Paul, London (Strong 1969)
641:, Haarlem, 1604 (reprinted Utrecht 1969, translated as
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The English Icon: Elizabethan and Jacobean Portraiture
508:, which finally completely overcame him by 1610–1613.
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Dutch Portraits, The Age of Rembrandt and Frans Hals
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Dutch Portraits, The Age of Rembrandt and Frans Hals
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643:The Lives of the Netherlandish and German Painters
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114:(18 March 1548 – 8 August 1616) was a Dutch
189:. He later traveled to Paris where he lived with
446:aged around thirteen, when he was training with
267:Double Portrait of a Brother and Sister, c. 1604
625:, Grove Art Online, accessed January 31st, 2008
126:till his death. Ketel, known essentially as a
130:, was also a poet and orator, and from 1595 a
1093:, London: L. Upcott Gill, 1897, digitized at
957:; 1978, pp. 94-5, Thames and Hudson, London,
460:to his wife, and getting it confused with an
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1133:Gloriana: The Portraits of Queen Elizabeth I
746:, "Prologue" pp. 27-43, 1945, Faber, London
661:No. 116 (November 1912:88-89, 92-940 p. 93.
356:commissioned from him and presented to Sir
284:, the city architect and sculptor. His son
224:which killed 20% of the population and the
1111:, Princeton: Yale University Press, 1995,
1065:, Princeton: Yale University Press, 2004,
29:
18:
1161:Birth certificate of a child called Rafel
1063:Dutch Seventeenth-Century Genre Painting
1047:Ekkart, Rudi, and Quentin Buvelot, eds.
1042:The Burlington Magazine for Connoisseurs
892:Dutch Seventeenth-Century Genre Painting
656:The Burlington Magazine for Connoisseurs
573:Thomas Cecil, First Earl of Exeter. 1575
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411:, typically charged £3 for a miniature.
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502:Double Portrait of a Brother and Sister
477:of 1642."—to whom one should add
1171:3 artworks by or after Cornelis Ketel
1135:, New York: Thames and Hudson, 1987,
596:Netherlands Institute for Art History
354:Force overcome by Wisdom and Prudence
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407:, then in his prime as a painter of
336:Adam Wachendorff, a merchant of the
724:Cust 1912:93, following van Mander.
672:The Concise Grove Dictionary of Art
377:. and several "great" paintings of
549:Richard Goodricke of Ribston, 1578
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450:in Amsterdam. These were perhaps
288:is thought to have been pupil of
250:Anne Seymour, Duchess of Somerset
230:artists active at the Tudor court
122:London from 1573 to 1581, and in
1216:People from Gouda, South Holland
715:and with the Earl of Winchilsea.
635:Dutch online text, from the DBNL
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469:The Company of Captain Rosecrans
424:The Company of Captain Rosecrans
1166:Cornelis Ketel on artcyclopedia
1148:Painting in Britain, 1530-1790
894:, Yale UP, 2004, p. 263 n.16,
220:rebels, followed in 1573 by a
1:
1079:. New York: Rizzoli, 1995.
1000:.4 (Winter 1963:38-41, 88-89)
1097:, retrieved 3 February 2008
931:Nicolaes Eliaszoon Pickenoy
920:, retrieved 26 January 2008
787:Hearn, p. 109, and Strong,
442:copied very brilliantly by
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1221:Artists from South Holland
1211:Dutch Renaissance painters
1044:22 No. 116 (November 1912)
797:Quentin Metsys the Younger
525:Sir Martin Frobisher, 1577
483:Bartholomeus van der Helst
1201:Dutch Golden Age painters
1109:Dutch Painting, 1600-1800
869:, Yale UP, 1995, p. 100,
867:Dutch Painting, 1600-1800
645:H. Miedema, ed. 1994-99).
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1226:Dutch Mannerist painters
687:Painters and Their Works
391:Thomas "Customer" Smythe
193:, glass-painter to King
207:School of Fontainebleau
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911:Rijksmuseum web site
311:church as he was an
211:Habsburg Netherlands
155:civic group portrait
153:at this period, the
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1146:Waterhouse, Ellis;
929:Perhaps trained by
799:; see Hearn, p. 85.
409:portrait miniatures
187:Anthonie Blocklandt
143:hierarchy of genres
1075:Hearn, Karen, ed.
1016:.49 (2004:87-100).
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282:Hendrick de Keyser
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35:Cornelis Ketel by
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983:978-1-85709-362-9
843:Hearn, p. 108-110
808:Hearn, p. 108-109
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561:John Smythe, 1579
405:Nicholas Hilliard
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415:Later works
373:now in the
352:and that a
317:Remonstrant
120:Elizabethan
1185:Categories
1032:References
879:Heraclitus
601:2018-08-07
479:Frans Hals
439:Heraclitus
433:Democritus
195:Charles IX
506:arthritic
498:Oude Kerk
444:Rembrandt
350:Steelyard
338:Steelyard
309:Calvinist
274:Habsburgs
258:Middlesex
256:House in
240:, of the
134:as well.
124:Amsterdam
116:Mannerist
92:Mannerism
914:Archived
852:Strong,
832:eo. loc.
819:eo. loc.
789:Gloriana
713:Ditchley
313:Arminian
197:. From
185:painter
132:sculptor
108:Cornelis
98:Children
88:Movement
82:Painting
856:, p. 49
689:, p. 38
685:James,
512:Gallery
452:tronies
379:Kalicho
55:Holland
1175:Art UK
1139:
1115:
1083:
1069:
1055:
981:
961:
898:
873:
830:Cust,
436:and a
222:plague
218:Geuzen
817:Cust
579:Notes
457:Danae
346:Hansa
323:Works
315:or a
199:Paris
183:Delft
175:Gouda
59:Spain
51:Gouda
1177:site
1137:ISBN
1113:ISBN
1081:ISBN
1067:ISBN
1053:ISBN
979:ISBN
959:ISBN
896:ISBN
877:; a
871:ISBN
481:and
161:Life
66:Died
44:Born
711:at
252:at
110:or
1187::
1014:25
659:22
610:^
594:.
464:.
260:.
157:.
145:,
57:,
53:,
1124:,
998:1
834:.
821:.
759:.
604:.
101:1
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