World Library  
Flag as Inappropriate
Email this Article

Samuel Dirksz van Hoogstraten

Article Id: WHEBN0001265817
Reproduction Date:

Title: Samuel Dirksz van Hoogstraten  
Author: World Heritage Encyclopedia
Language: English
Subject: Trompe-l'œil, Dutch printmakers, 1678 in art, Hierarchy of genres, 1627 births
Collection: 1627 Births, 1678 Deaths, Artist Authors, Artists from Dordrecht, Dutch Golden Age Painters, Dutch Printmakers, Members of the Bentvueghels
Publisher: World Heritage Encyclopedia
Publication
Date:
 

Samuel Dirksz van Hoogstraten

Samuel Dirksz van Hoogstraten
Self-portrait ca. 1647
Born Samuel van Hoogstraten
(1627-08-02)2 August 1627
Dordrecht
Died 19 October 1678(1678-10-19) (aged 51)
Dordrecht
Nationality Nederland
Known for Painting, writer
Movement Baroque

Samuel Dirksz van Hoogstraten (2 August 1627, Dordrecht – 19 October 1678, Dordrecht) was a Dutch painter of the Golden Age, who was also a poet and author on art theory.

Contents

  • Biography 1
  • Paintings and etches 2
  • Literary work 3
    • Art theoretician 3.1
    • Sonnets and tragedies 3.2
  • Gallery 4
  • References 5
  • External links 6

Biography

Samuel Dirksz van Hoogstraten trained first with his father Dirk van Hoogstraten and stayed in Dordrecht until about 1640. On the death of his father, he moved to Amsterdam where he entered the workshop of Rembrandt. A short time later, he started out on his own as a master and painter of portraits.

He later made several travels which took him (1651) to Vienna, Rome and London, finally retiring to Dordrecht. There he married in 1656, and held an appointment as provost of the mint.

Paintings and etches

Tromp-l'oeil Still-Life, 1664
View of a Corridor, Dyrham Park, 1662

A sufficient number of Van Hoogstraten's works has been preserved to show that he strove to imitate different styles at different times. In a portrait dated 1645, currently in the Lichtenstein collection in Vienna, he imitates Rembrandt. He continued in this vein until as late as 1653 when he produced the wonderful figure of a bearded man looking out of a window. This, one of the more characteristic examples of his manner, is exhibited in the Kunsthistorisches Museum, Vienna. He was especially skillful in his Tromp-l'oeil still lifes, where the reality of the scene of apparently haphazard objects often has deeper meanings.

A view of the Vienna Hofburg, dated 1652, displays his skill as a painter of architecture. In contrast, a piece at the Hague representing a "Lady Reading a Letter as she crosses a Courtyard" (Mauritshuis) or a "Lady Consulting a Doctor," (in the Rijksmuseum at Amsterdam), imitates de Hooch. One of his last remaining works is a portrait of Mathys van den Brouck, dated 1670.

Hoogstraten also employed his skill with perspective to construct "peepshows", or "perspective boxes". For example, A Peepshow with Views of the Interior of a Dutch House[1] is a box with convincing 3D views of the interior of a Dutch house when viewed through peepholes on either end of the box.[2] One of his perspective boxes is on show at the National Gallery in London. It shows the interior of a typical Dutch house of his time.

He was produced many etchings too, and some of his plates are still preserved. His self-portrait, engraved by himself at the age of fifty, still exists.

His pupils were his younger brother Jan van Hoogstraten, Aert de Gelder, Cornelis van der Meulen, and Godfried Schalcken.[3]

Literary work

Art theoretician

Van Hoogstraten's fame derives from his versatile career as a painter, poet and zealous social climber. Besides painting and directing a mint, he devoted some of his time to literary labours. His 'magnum opus' is a book on painting, the Introduction to the Academy of Painting, or the Visible World (original title: 'Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt', Rotterdam, 1678) which is in length and theoretical scope one of the most ambitious treatises on the art of painting published in the Dutch Republic in the seventeenth century.[4][5] It covers issues such as pictorial persuasion and illusionism, the painter's moral standards and the relation of painting to philosophy, referring to various ancient and modern authors. While reacting to international, mainly Southern European ideas on painting which Van Hoogstraten may have encountered during his travels, the treatise also reflects contemporary talk and thought on art from Dutch studios. He wrote it as a sequel to Karel van Mander's early 17th century book on painting and painters entitled Het Schilder-Boeck. One of van Hoogstraten's many students, Arnold Houbraken, later wrote the book entitled The Great Theatre of Dutch Painters, which included a biography of his teacher. This biography is the basis of most of the information that we have about van Hoogstraten today.

Sonnets and tragedies

Van Hoogstraten also composed sonnets and tragedies. We are indebted to him for some of the familiar sayings of Rembrandt.

Gallery

References

  1. ^ National Gallery display of Hoogstraten's perspective box.
  2. ^ Samuel van Hoogstraten Biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature (Dutch)
  3. ^ Samuel Dirksz van Hoogstraten in the RKD
  4. ^ Thijs Weststeijn, 'The Visible World: Samuel Van Hoogstraten's Art Theory and the Legitimation of Painting in the Dutch Golden Age', Amsterdam University Press, 2008
  5. ^ Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt) (1678) in the DBNL (Dutch)

External links

  • Peepshow box at the National Gallery
  • Works and literature on Samuel van Hoogstraten
  • Vermeer and The Delft School, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Samuel Dirksz van Hoogstraten
  • Dutch and Flemish paintings from the Hermitage, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Samuel Dirksz van Hoogstraten (cat. no. 13)
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for USA.gov and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
 
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
 
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.
 


Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.