Clarita y Efraim PPS

1. Judith Leyster Clarita y Efraim PPS

2. Judith Jans Leyster (c. July 28, 1609– February 10, 1660) was a Dutch Golden Age painter*. She painted genre works, portraits, and still lifes. Although her work was highly regarded by her contemporaries, Leyster and her work became largely forgotten after her death. Her entire oeuvre was attributed to FransHals or to her husband, Jan MienseMolenaer, until 1893. Boy playing the Flute - 1630 *The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Eighty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart

3. Self-portrait by Judith Leyster is an Dutch Golden Age painting in oils in the collection of the National Gallery of Art that was offered in 1633 as a masterpiece to the Haarlem Guild of St. Luke.[1] It was attributed for centuries to Frans Hals and was only properly attributed to Judith Leyster upon acquisition by the museum in 1949.[2] The style is indeed comparable to that of Hals, Haarlem's most famous portraitist. In 2016 a second self-portrait was found, dating from around 1653. Though Leyster looks very relaxed, the composition is to some extent an artificial confection. She is dressed in what must have been her best clothes, which in reality she is unlikely to have risked near wet oil paint, and the figure she is painting is borrowed from a different work, and was perhaps never actually painted as a single figure. Critics have found a sense of "Baroque closeness" in this painting. The artist and the viewer are very close in space. Many of the elements in the painting are foreshortened in order to feel closer and like they are coming into the viewer's space. Judith Leyster, Self-Portrait, c. 1630 74 x 65 cm

4. Judith Leyster was born in Haarlem. At the outset of her career she was influenced by the Utrecht followers of Caravaggio, and this influence can be seen in, for example, half-length representations of happy musicians and drinkers against a neutral background, as well as in the use of a light and shade contrasts. In about 1629 she was probably a pupil of FransHals*, and witnessed the baptism of one of the master’s children in 1631. She was also influenced by Dirck Hals. By 1633 Leyster was a member of the Haarlem guild. In 1635 she had three pupils, which indicates that she was regarded as a famous artist. In 1636 she married the painter Jan MienseMolenaer ‘and although she continued to paint after this date, few works of this period are known today. She was one of the few professional women painters of the Dutch Golden Age. She worked in Amsterdam (where she died) and Haarlem. She was chiefly a genre painter, but we know that she was also interested in flower painting, mostly after 1635. *Frans Hals the Elder ( c. 1582 – 26 August 1666) was a Dutch Golden Age painter, normally of portraits, who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this lively style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture.

5. Although well-known during her lifetime and esteemed by her contemporaries, Leyster and her work were largely forgotten after her death. She was rediscovered in 1893, when a painting admired for over a century as a work of Frans Hals was recognized as hers. Leyster's work was criticized as showing the "weakness of the feminine hand" while many of her paintings were attributed to FransHals. The confusion–or perhaps deceit–may date to Leyster's lifetime. Sir Luke Schaud acquired a Leyster, The Jolly Companions, as a Hals in the 1600s. The work ended up with a dealer, Wertheimer of Bond Street, London, who described it as one of the finest Hals paintings. Sir John Millars agreed with the Wertheimer about the authenticity and value of the painting. Wertheimer sold the painting to an English firm for £4,500. This firm, in turn, sold the painting as a Hals to Baron Schlichting in Paris. In 1893 the Louvre found Leyster's monogram under the fabricated signature of Hals. It is not clear when the false signature had been added. When the original signature was discovered, Baron Schlichting sued the English firm, who in turn attempted to rescind their own purchase and get their money back from the art dealer, Wertheimer. The case was settled in court on 31 May 1893, with the plaintiffs (the unnamed English firm) agreeing to keep the painting for £3,500 + £500 costs. During the legal proceedings, there was no consideration for the work as an object of value under its new history: "at no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered". Another version of The Jolly Companions had been sold in Brussels in 1890 and bore Leyster's monogram "crudely altered to an interlocking FH". In 1893 Cornelis Hofstede de Groot wrote the first article on Leyster. He attributed seven paintings to her, six of which are signed with her distinctive monogram 'JL*'. Art historians since then have often dismissed her as an imitator or follower of Hals, although this attitude has changed somewhat in the late 20th century. Apart from the lawsuit mentioned above, the nature of Leyster's professional relationship with Frans Hals is unclear; she may have been his student or else a friendly colleague. She may have been a witness at the baptism of Hals' daughter Maria in the early 1630s, since a "Judith Jansder" (meaning "daughter of Jan") was recorded as a witness, but there were other Judith Janses in Haarlem. Some historians have asserted that Hals or his brother Dirck may have been Leyster's teacher, owing to the close similarities between their works Leyster's monogram

6. Frans Hals, Jesterwith a Lute, 1620–1625, canvas, Musée du Louvre, Paris. Copy of Lute Player by FransHals 65 cm x 58 cm 1628

7. This painting is strongly reminiscent of Frans Hals's depictions of children from this period, both in its diagonal composition and its exuberance. It was copied from a lost painting by Hals known from an engraving by CornelisDanckerts. Two Children with a Cat - 1629 61 x 52 cm

8. The Serenade is a 1629 oil painting by Judith Leyster in the collection of the Rijksmuseum. It was attributed for centuries to Frans Hals until Wilhelm von Bode saw it in the Six collection in 1883. He noticed the prominent "J" in the signature, and attributed it to Jan Hals. This is one of seven paintings first properly attributed to Leyster by Hofstede de Groot ten years later in 1893 Serenade, 1629

9. Boy with grapes in his hat 1629

10. Willem Van Heythuyzen, c.1625 Wall Art By: Frans Hals Portrait of a young man, painted in the manner of the portrait of Willem van Heythuizen by FransHals - 1630

11. Portrait of a man with beard and ruff collar. 68.5 cm 56.5 cm 1630

12. A Game of Tric-Trac offers an insight into seventeenth century Dutch nightlife as well as the codes surrounding prostitution and morality. Backgammon, which was commonly called tric-trac, was a popular pastime during Leyster's lifetime, depicted in paintings by many of her contemporaries. While there is often a woman present in these pieces, besides one print by Jacob Matham, none of them depict her as having an active role in the game. Leyster's painting is interesting then because the woman in it appears to the opposing player. Leyster signals this to the viewer with her placement of the oil lamp, which would have been placed on one side of the board (the "inner table") between the two players A Game of TricTrac - 1630

13. Judith Leyster is one of the very few women to have been accepted as a member of the Haarlem Guild of Painters. Although a contemporary historian described her as a leading light in art (punning on her name Leyster, which means "lodestar") she remained unknown for a long time and her works were either believed lost, or were attributed to Frans Hals. She probably worked in his studio around 1630 and was also a friend of his family, for one year later she became godmother to Hals' daughter Maria. Like Hals at the same time, the young Leyster adopted the style of the Utrecht Caravaggisti, with their strong chiaroscuro modelling in the manner of Caravaggio. From the mid-1620, she concentrated more on vividly illuminated genre scenes, generally featuring half figures of merry musicians, gamblers and whores, strongly influenced by the painting of Terbrugghen and Honthorst. While the Utrecht school of painters still rounded the surfaces of their objects smoothly between light and shade, Hals and his school adopted a broad, vibrant and independent brushstroke. Leyster's work can be distinguished from that of Hals through her generally more discordant handling of colour, her sketchier treatment of hands, the wryly distorted smiles of her figures and her altogether flightier brushwork. The Happy Couple by Leyster, 1630 68 x 54 cm

14. Jongen in profiel (c.1630)

15. Boy playing the Flute - 1630

16. Violinist with a skull - 1630

17. A young lady holding a lute with a music score on her lap in a candlelit interior, 31 cm x 22 cm 1631

18. The Proposition is a genre painting of 1631 by Judith Leyster, now in the Mauritshuis in The Hague, who title it Man offering money to a young womanItdepicts a woman, sewing by candlelight, as a man leans over her, touching her right shoulder with his left hand. He is offering her coins in his right hand, but she is apparently ignoring the offer and concentrating intently upon her sewing. The man wears dark clothing, and the dark tones as well as his shadow cast behind him and across his face from the angle of the candlelight give him a looming appearance. In contrast, the woman is lit fully in the face by the candlelight, and wears a white blouse. It is an early work by Leyster, who was only 22 years old in 1631.

19. Merry Trio - 1631

20. This painting was first documented as being in the collection of Arthur Kay who published his "Treasure Trove of Art" in 1939, including this Youth with a Jug as one of a series on the five senses painted by Judith Leyster. Later the five paintings were documented as being in the collection of Paris gallery owner Georges Wildenstein, Buenos Aires by 1941. By the 1950s the paintings were split up on the art market and this one was attributed to Leyster by the researcher Frima Fox Hofrichter in 1991 when it was sold to the present owner. In 2002 three of the paintings were brought back together and attributed to Leyster's husband Jan MienseMolenaer. Since then the remaining two have come on the market, but new examination has brought doubts as to whether all five paintings were ever a set. This one remains attributed to Leyster. A Youth with a Jug 1633

21. A Game Of Cards 1633

22. David with the head of Goliath 1633

23. A Youth with a Jug 1633

24. There have been various interpretations of Judith Leyster's A Boy and a Girl with a Cat and an Eel by different scholars. Some, such as Neil McLaren, have argued that it represents the Dutch proverb "Eenaalbij de staarthebben" (or "to hold an eel by the tail") meaning that you do not get to hold onto something just because you have it. This moralistic interpretation is supported, Cynthia Kortenhorst-Von BogendorffRupprath says, by the eye contact with the viewer made by the little girl in the painting as she wags her finger. Other interpretations include allusions to other Dutch proverbs as well as the popular pastime in seventeenth-century Dutch festivals or kermis of katknuppelen, the bludgeoning of cats. The depiction of children torturing or being scratched by cats was a popular one at this time in the Netherlands, and may allude to the Dutch proverbs "Hijdoetkattekwaad", which translates literally to "he does the mischief of the cat", or "'t Liepuit op katjesspel", the literal translation of which is "it ends in the game of the cat", which relate to mischievous or arguing children. A Boy and a Girl with a Cat and an Eel

25. The Concert – 1633

26. Along with tavern scenes and intimate domestic genre pieces, Judith Leyster frequently painted musical performance scenes. In The Concert, Leyster accurately depicts elements such as the Baroque violin (made without a chin rest and usually supported against the chest), as well as the woman’s songbook. The figures shown here are likely portraits. Based on similar individuals in Leyster’s other pictures, scholars have tentatively identified the singer as the artist herself, the violinist as her husband, and the lute player as a family friend. The members of the trio, like all musicians, must work together as a unit, “in concert,” which has led some writers to theorize that this scene symbolizes the virtue of harmony. Leyster frequently placed her subjects against a plain, monochromatic background. Thus, nothing distracted from the figures, who are all shown in the midst of various actions (bowing or plucking strings and beating time). The deep angle at which the lute is held adds depth to the composition. The varied directions of the musicians’ gazes offer the viewer different focal points.

27. The Last Drop (The Gay Cavalier) 1639

28. Head of a Child – 1630-1640

29. Still life with apples and grapes in a wicker basket, with a roemer and ewer on a blue draped table - 1640

30. Girl and Boy at a Game of Kolf - 1650

31. Self-portrait by Judith Leyster 1650

32. Early Brabantson Tulip - tulip book 1643 Flowerpot 1654

33. Frans Hals the Elder; (c. 1582 – 1666) was a Dutch Golden Age painter, normally of portraits, who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this lively style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture. Hals was born in 1582 or 1583 in Antwerp, then in the Spanish Netherlands, as the son of cloth merchant FranchoisFransz Hals van Mechelen (c. 1542–1610) and his second wife Adriaentje van Geertenryck. Like many, Hals' parents fled during the Fall of Antwerp (1584–1585) from the south to Haarlem in the new Dutch Republic in the north, where he lived for the remainder of his life. Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals' work. This painting was thought to be a self-portrait until 1935. A better copy of the fifteen copies of the lost Self-portrait is in the Indianapolis Museum of Art.

34. The caravaggista School of Utrecht was an active pictorial movement in the city of Utrecht (Netherlands) between 1615 and 1635, approximately. His three main representatives, Hendrik Terbrugghen, Dirck van Baburen and Gerard van Honthorst, were trained in Rome, where they received the influence of the Baroque naturalism of Caravaggio, whose style moved Utrecht upon his return to the city. As in the caravaggismo, the work of these artists stands out for the profuse use of chiaroscuro, the strong contrast between lights and shadows, as well as a realistic vision of artistic themes, mainly religious, portraits and genre scenes. Gerard van Honthorst - Adoration of the Shepherds

35. Sources: https://en.wikipedia.org/wiki/List_of_paintings https://commons.wikimedia.org/wiki/Judith_Leyster https://es.wikipedia.org/wiki/Anexo:Cuadros https://en.wikipedia.org/wiki/Utrecht_Caravaggism https://www.wikiart.org/en/frans-hals https://es.wikipedia.org/wiki/Caravaggismo Clarita-Efraim pps: www.clarita-efraim.com chefetze@netvision.net.il August 1919