British and European Portraiture 1600-1930 by Susan And Rachel Boyd Morris

By Susan And Rachel Boyd Morris

Коллекция британского и европейского портрета 1600-1930 гг.

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Van der Ast echoes much of his brother-in-law's approach too, positions \l }1 (. BRIET, 1690 H{ / ii| in V\ (oppowtc) IS in AST, signed (53 X }8 (in ) 'Red-hot Poker'. ) terms of clarity, precision, and intensity of colour, and shares that devoted sense of wonder which typifies the early masters of the flowerpiece. Yet to the development of flower painting he gave as much as he received. Van der Ast broadened and perfected the range of different subjects only in latent in the elder Bosschaert's work: the flowerpiece, the fruitpiece, the 39 AST fruitpiece with shells, and a combination of them all.

Born at Brussels in 1616, he was ordained and became chaplain to Archduke Leopold-William and Emperor Leopold I. In 1659 he made an inventory of the Archduke's collection which included BAREN, Jan 4i BAREN eleven of his own paintings, including landscapes. garlands have been traced. Information about made his will 1686. He left in Of these eleven, two Van der Baren comes from Vienna some time between 1662 and his death there in careful instructions that his flower studies were to be sent back to Flanders.

Obviously not all painters were abreast of the latest styles nor did tastes change uniformly throughout Europe. Minor painters were often content 1661 by (ill. Cam, 28) in to follow traditional paths. Helena Rouers' work (ill. 312), of the same year as Van Aelst's, might have been painted thirty years earlier to compare with the Marrel of 1635 (iU. 258). Tomas Hiepes's work of 1 664 makes the same point. Walscappelle and Mignon, for example, reflect in their respective colour illustrations both the older traditions and the more flamboyant Baroque Flanders, the cradle of style.

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