Comments on: Caesar van who? http://flyingfox.jonathanjanson.com/2009/06/08/caesar-van-who/ Words from the Essential Vermeer.com Wed, 09 Nov 2011 13:08:05 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Girl Interrupted at her Music (2) « Johannes Vermeer’s influence and inspiration http://flyingfox.jonathanjanson.com/2009/06/08/caesar-van-who/comment-page-1/#comment-13964 Girl Interrupted at her Music (2) « Johannes Vermeer’s influence and inspiration Fri, 21 May 2010 06:42:56 +0000 http://flyingfox.jonathanjanson.com/?p=1567#comment-13964 [...] with this idea of temptation, if we look at the wall, we will see a painting where Cupid appears. Probably, it is a large scale of Caesar Van Everdingen’s Cupid. The latter is also [...] [...] with this idea of temptation, if we look at the wall, we will see a painting where Cupid appears. Probably, it is a large scale of Caesar Van Everdingen’s Cupid. The latter is also [...]

]]> By: Girl Interrupted at her Music « Maiderdeusto's Blog http://flyingfox.jonathanjanson.com/2009/06/08/caesar-van-who/comment-page-1/#comment-13656 Girl Interrupted at her Music « Maiderdeusto's Blog Sat, 08 May 2010 17:00:14 +0000 http://flyingfox.jonathanjanson.com/?p=1567#comment-13656 [...] Continuing with this idea of temptation, if we look at the wall, we will see a painting where Cupid appears. Probably, it is a large scale of Caesar Van Everdingen’s Cupid. The latter is also [...] [...] Continuing with this idea of temptation, if we look at the wall, we will see a painting where Cupid appears. Probably, it is a large scale of Caesar Van Everdingen’s Cupid. The latter is also [...]

]]> By: Houston http://flyingfox.jonathanjanson.com/2009/06/08/caesar-van-who/comment-page-1/#comment-5692 Houston Sun, 14 Jun 2009 12:15:10 +0000 http://flyingfox.jonathanjanson.com/?p=1567#comment-5692 This is interesting. Vermeer has always been a favorite of mine and I have attempted to learn as much as I can about him but this is something I didn't know. By the way thanks for maintaining such an informative site on Vermeer. It has saved me a lot of time, in my quest to learn about him, from scouring the internet for information. This is interesting. Vermeer has always been a favorite of mine and I have attempted to learn as much as I can about him but this is something I didn’t know.

By the way thanks for maintaining such an informative site on Vermeer. It has saved me a lot of time, in my quest to learn about him, from scouring the internet for information.

]]> By: ARech http://flyingfox.jonathanjanson.com/2009/06/08/caesar-van-who/comment-page-1/#comment-5590 ARech Wed, 10 Jun 2009 13:02:54 +0000 http://flyingfox.jonathanjanson.com/?p=1567#comment-5590 The bet could get lost. I am almost sure that everyone, who only slightly digs deeper into Vermeer's unsurpassed art and study his paintings with a minimum of basic research will sooner or later come across the name of Caesar van Everdingen, and if it is only via the three visible Cupids (set the quality aside here) and the well-known fact (since Annaliese Meyer-Meintschel's enlightening article from 1978/79) of the overpainted one in the Dresden Girl Reading a Letter at an Open Window, all are executed in the classicist manner of Van Everdingen. Moreover, scholars have earlier supposed that the "schilderij cupido", listed in the inventory of Vermeer's estate from 1676 might have been a work by Van Everdingen. Meyer-Meintschel also points to the remarkable resemblance of the Cupid in the Dresden painting 'Bacchus with Nymphs and Cupid' (see above or here: http://www.wga.hu/frames-e.html?/html/e/everding/caesar/index.html and Vermeer's Cupid in his Lady Standing at a Virginal which once dominated in a quite similar manner the background wall of the Girl Reading a Letter at an Open Window. Vermeer might have known Van Everdingen perhaps from the latter's work for the 'Oranjezaal' (Orange Hall) in the Huis ten Bosch in The Hague, the most splendid of the palaces commissioned by Stadhouder Frederik Hendrik and after his death extended and decorated for his honour and memory according to the plans by his widow Anna van Solms for whom Constantijn Huygens served as artistic advisor. Van Everdingen was selected together with seven of the best Dutch classicist painters from the Northern Provinces, to execute the decorations of the entire hall from the bottom up to the ceiling. His work became the most attractive and original one among those of his renowned painter colleagues and brought him further success in his career. A vivid example of his outstanding skills for monumental classicist composition, refined sensitivity to the effects of light and shadow, trained in the school of the Utrecht Caravaggists, as well as enormous accurateness in the execution of the finest and most intricate details is to be found in his monumental Four Muses and Pegasus on Parnassus in the Oranjezaal, http://www.wga.hu/frames-e.html?/html/e/everding/caesar/index.html with an extraordinary still-life of no less than eleven lifelike musical instruments in an artful composition, unique in Dutch painting of the time. Although Van Everdingen mainly worked in Haarlem and Alkmaar (his home town) it is likely that Vermeer had access to his paintings either from his art trade or from copies he came across here or there. And no doubt the Delft master had considerable appreciation for the outstanding qualities of the Northern master, no matter of the difference in the artistic fields they excelled. AR The bet could get lost. I am almost sure that everyone, who only slightly digs deeper into Vermeer’s unsurpassed art and study his paintings with a minimum of basic research will sooner or later come across the name of Caesar van Everdingen, and if it is only via the three visible Cupids (set the quality aside here) and the well-known fact (since Annaliese Meyer-Meintschel’s enlightening article from 1978/79) of the overpainted one in the Dresden Girl Reading a Letter at an Open Window, all are executed in the classicist manner of Van Everdingen. Moreover, scholars have earlier supposed that the “schilderij cupido”, listed in the inventory of Vermeer’s estate from 1676 might have been a work by Van Everdingen. Meyer-Meintschel also points to the remarkable resemblance of the Cupid in the Dresden painting ‘Bacchus with Nymphs and Cupid’ (see above or here:

http://www.wga.hu/frames-e.html?/html/e/everding/caesar/index.html

and Vermeer’s Cupid in his Lady Standing at a Virginal which once dominated in a quite similar manner the background wall of the Girl Reading a Letter at an Open Window.

Vermeer might have known Van Everdingen perhaps from the latter’s work for the ‘Oranjezaal’ (Orange Hall) in the Huis ten Bosch in The Hague, the most splendid of the palaces commissioned by Stadhouder Frederik Hendrik and after his death extended and decorated for his honour and memory according to the plans by his widow Anna van Solms for whom Constantijn Huygens served as artistic advisor. Van Everdingen was selected together with seven of the best Dutch classicist painters from the Northern Provinces, to execute the decorations of the entire hall from the bottom up to the ceiling. His work became the most attractive and original one among those of his renowned painter colleagues and brought him further success in his career.

A vivid example of his outstanding skills for monumental classicist composition, refined sensitivity to the effects of light and shadow, trained in the school of the Utrecht Caravaggists, as well as enormous accurateness in the execution of the finest and most intricate details is to be found in his monumental Four Muses and Pegasus on Parnassus in the Oranjezaal,

http://www.wga.hu/frames-e.html?/html/e/everding/caesar/index.html

with an extraordinary still-life of no less than eleven lifelike musical instruments in an artful composition, unique in Dutch painting of the time.

Although Van Everdingen mainly worked in Haarlem and Alkmaar (his home town) it is likely that Vermeer had access to his paintings either from his art trade or from copies he came across here or there. And no doubt the Delft master had considerable appreciation for the outstanding qualities of the Northern master, no matter of the difference in the artistic fields they excelled.

AR

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