Adriaen van Ostade (1610-1685) A collection of paintings 4K Ultra HD

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Dutch Painting of the 17th century

Dutch Painting of the 17th century

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Adriaen van Ostade (1610-1685) was a Dutch Golden Age painter of genre works.

According to Houbraken, he and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. Although Adriaen and his brother Isaack were born in Haarlem, they adopted the name "van Ostade" as painters.

According to the RKD, he became a pupil in 1627 of the portrait painter Frans Hals, at that time the master of Jan Miense Molenaer.

In 1632 he is registered in Utrecht (where, like Jacob Duck, he was probably influenced by the village scenes of Joost Cornelisz Droochsloot, which were popular in his day), but in 1634 he was back in Haarlem where he joined the Haarlem Guild of St. Luke. At twenty-six 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 Cornelis Pietersz Bega, Cornelis Dusart, Jan de Groot (1650-1726), Frans de Jongh, Michiel van Musscher, Isaac van Ostade, Evert Oudendijck, and Jan Steen.

Ostade was the contemporary of the Flemish painters David Teniers the Younger and Adriaen Brouwer and . Like them, he spent his life in delineation of the homeliest subjects: tavern scenes, village fairs and country quarters.

Between Teniers and Ostade the contrast lies in the different condition of the agricultural classes of Brabant and Holland 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 moist and hazy, and the people depicted by Ostade are short and ill-favoured, marked with adversity's stamp in feature and dress.

Brouwer, who painted the peasant in his frolics and passions, brought more of the spirit of Frans Hals 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 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 gay vegetation.

About 1638 or 1640, the influence of Rembrandt suddenly changed his style. He painted the Annunciation 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 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.

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 specimens 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 Village Street and the Skittle Players, noteworthy items in the Ashburton and Ellesmere collections, were executed in 1676 without any sign of declining powers.

He died in 1685 in Haarlem.

https://en.wikipedia.org/wiki/Adriaen_van_Ostade

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