Gerard David: Difference between revisions

From Wikipedia
Jump to navigation Jump to search
Browse history interactively
VisualWikitext
imported>Citation bot
Add: authors 1-1. Removed URL that duplicated identifier. Removed parameters. Some additions/deletions were parameter name changes. | Use this bot. Report bugs. | #UCB_CommandLine
 
imported>Surajr7
No edit summary
 
Line 14: Line 14:
| death_date    = 13 August {{death year and age|1523|1460}}
| death_date    = 13 August {{death year and age|1523|1460}}
| death_place    = [[Bruges]], [[County of Flanders]], {{awrap|Habsburg Netherlands}}
| death_place    = [[Bruges]], [[County of Flanders]], {{awrap|Habsburg Netherlands}}
| nationality  = [[Netherlandish]]
| field        = Painting
| field        = Painting
| training      =
| training      =
Line 29: Line 28:
==Life==
==Life==
He was born in [[Oudewater]], now located in the province of [[Utrecht (province)|Utrecht]]. His year of birth is approximated as c. 1450–1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his ''Virgin among the Virgins''.<ref name="h63">Hand, 63</ref><ref name=":0">{{Cite book|title=Gothic Art|publisher=Peebles Press International|year=1974|isbn=0-85690-033-8|editor-last=Lesberg|editor-first=Sandy|location=New York|chapter=Glossary of Gothic Art|oclc=2163980|orig-year=1966}}</ref> He is believed to have spent time in Italy from 1470 to 1480, where he was influenced by the [[Italian Renaissance]].<ref name=":0" /> He formed his early style under [[Albert van Oudewater]] in [[Haarlem]], and moved to Bruges in 1483, where he joined the [[Guild of Saint Luke]] in 1484.<ref name=":0" /><ref>Ainsworth (1998), 93</ref>
He was born in [[Oudewater]], now located in the province of [[Utrecht (province)|Utrecht]]. His year of birth is approximated as c. 1450–1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his ''Virgin among the Virgins''.<ref name="h63">Hand, 63</ref><ref name=":0">{{Cite book|title=Gothic Art|publisher=Peebles Press International|year=1974|isbn=0-85690-033-8|editor-last=Lesberg|editor-first=Sandy|location=New York|chapter=Glossary of Gothic Art|oclc=2163980|orig-year=1966}}</ref> He is believed to have spent time in Italy from 1470 to 1480, where he was influenced by the [[Italian Renaissance]].<ref name=":0" /> He formed his early style under [[Albert van Oudewater]] in [[Haarlem]], and moved to Bruges in 1483, where he joined the [[Guild of Saint Luke]] in 1484.<ref name=":0" /><ref>Ainsworth (1998), 93</ref>
[[File:Gerard David - The Annunciation (The Angel and the Virgin).jpg|360px|thumb|left|''The Annunciation'', 1506]]


Upon the death of [[Hans Memling]] in 1494, David became Bruges' leading painter. He became dean of the guild in 1501,<ref>Ainsworth (1998), 2</ref> and in 1496 married [[Cornelia Cnoop]], daughter of the dean of the [[goldsmith]]s' guild.<ref>Cuttler, Charles D. "Northern painting from Pucelle to Bruegel". Holt, Rinehart and Winston, 1968. 190</ref> David was one of the town's leading citizens.<ref name="add">Additional documents were presented by Hans J. van Miegroet, "New Documents Concerning Gerard David" ''The Art Bulletin'' '''69'''.1 (March 1987:33–44).</ref>
[[Erwin Panofsky]] identifies David as a student of [[Geertgen tot Sint Jans]].<ref>Erwin Panofsky. ''Early Netherlandish Painting''. Page 177.</ref> Upon the death of [[Hans Memling]] in 1494, David became Bruges' leading painter. He became dean of the guild in 1501,<ref>Ainsworth (1998), 2</ref> and in 1496 married [[Cornelia Cnoop]], daughter of the dean of the [[goldsmiths' guild]].<ref>Cuttler, Charles D. "Northern painting from Pucelle to Bruegel". Holt, Rinehart and Winston, 1968. 190</ref> David was one of the town's leading citizens.<ref name="add">Additional documents were presented by Hans J. van Miegroet, "New Documents Concerning Gerard David" ''The Art Bulletin'' '''69'''.1 (March 1987:33–44).</ref> [[Ambrosius Benson]] served his apprenticeship with David. Around 1519 they had a dispute over a number of paintings and drawings which Benson had collected from other artists.  David refused to return the materials because Benson owed him a large debt.<ref name="h73">Harbison, 73</ref> Benson sought legal recourse in court and after he won, David was condemned to a prison term.<ref>Nash, 168, 193</ref><ref>Scheller, Robert W. ''Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (c. 900 – c. 1470)''. Amsterdam: Amsterdam University Press, 1995. p. 79.</ref>


[[Ambrosius Benson]] served his apprenticeship with David. Around 1519 they had a dispute over a number of paintings and drawings which Benson had collected from other artists.  David refused to return the materials because Benson owed him a large debt.<ref name="h73">Harbison, 73</ref> Benson sought legal recourse in court and after he won, David was condemned to a prison term.<ref>Nash, 168, 193</ref><ref>Scheller, Robert W. ''Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (c. 900 – c. 1470)''. Amsterdam: Amsterdam University Press, 1995. p. 79.</ref>
He died on 13 August 1523 and was buried in the [[Church of Our Lady, Bruges|Church of Our Lady]] in Bruges.<ref>{{Cite web |title=Gerard David :: Biography |url=https://www.virtualuffizi.com/gerard-david.html |access-date=11 August 2021 |website=Virtual Uffizi Gallery |language=en-US |archive-date=11 August 2021 |archive-url=https://web.archive.org/web/20210811164859/https://www.virtualuffizi.com/gerard-david.html |url-status=live }}</ref>
 
He died on 13 August 1523 and was buried in the [[Church of Our Lady, Bruges|Church of Our Lady]] in Bruges.<ref>{{Cite web |title=Gerard David :: Biography |url=https://www.virtualuffizi.com/gerard-david.html |access-date=11 August 2021 |website=Virtual Uffizi Gallery |language=en-US}}</ref>


==Style==
==Style==
David's surviving work mainly consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream like serenity, achieved through soft, warm and subtle colourisation, and masterful handling of light and shadow.<ref name="r157">Ridderbo et al., 157</ref> He is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting.<ref name="h63" /> His ability with landscape can be seen in the detailed foliage of his ''Triptych of the Baptism'' and the forest scene in the New York ''Nativity''.<ref name="r157" />
[[File:Gerard David - The Annunciation (The Angel and the Virgin).jpg|upright=1.4|thumb|''The Annunciation'', 1506]]
David's surviving work mainly consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream-like serenity, achieved through soft, warm and subtle colourisation, and masterful handling of light and shadow.<ref name="r157">Ridderbo et al., 157</ref> He is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting.<ref name="h63" /> His ability with landscape can be seen in the detailed foliage of his ''Triptych of the Baptism'' and the forest scene in the New York ''Nativity''.<ref name="r157" />


Many of the art historians of the early 20th century, including [[Erwin Panofsky]] and [[Max Jakob Friedländer]] saw him as a painter who did little but distill the style of others and painted in an archaic and unimaginative style. However today most view him as a master colourist, and a painter who according to the [[Metropolitan Museum of Art]], worked in a "progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition."<ref name="met">"[http://www.metmuseum.org/toah/hd/gera/hd_gera.htm Gerard David (born about 1455, died 1523)]". [[Metropolitan Museum of Art]]. Retrieved 15 February 2013</ref>
Many of the art historians of the early 20th century, including [[Erwin Panofsky]] and [[Max Jakob Friedländer]] saw him as a painter who did little but distill the style of others and painted in an archaic and unimaginative style. However, today most view him as a master colourist, and a painter who, according to the [[Metropolitan Museum of Art]], worked in a "progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition."<ref name="met">"[http://www.metmuseum.org/toah/hd/gera/hd_gera.htm Gerard David (born about 1455, died 1523)] {{Webarchive|url=https://web.archive.org/web/20130911153547/http://www.metmuseum.org/toah/hd/gera/hd_gera.htm |date=11 September 2013 }}". [[Metropolitan Museum of Art]]. Retrieved 15 February 2013</ref>


In his early work David followed Haarlem artists such as [[Dirk Bouts]], Albert van Oudewater,<ref name=":0" /> and [[Geertgen tot Sint Jans]], though he had already given evidence of superior power as a colourist. To this early period belong the ''St John'' of the [[:de:Richard von Kaufmann|Richard von Kaufmann]] collection in Berlin and the [[George Salting|Salting]]'s ''St Jerome''. In Bruges he came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures.{{sfn|Konody|1911}}
In his early work David followed Haarlem artists such as [[Dirk Bouts]], Albert van Oudewater,<ref name=":0" /> and [[Geertgen tot Sint Jans]], though he had already given evidence of superior power as a colourist. To this early period belong the ''St John'' of the [[:de:Richard von Kaufmann|Richard von Kaufmann]] collection in Berlin and the [[George Salting|Salting]]'s ''St Jerome''. In Bruges, he came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures.{{sfn|Konody|1911}}


He visited Antwerp in 1515 and was impressed with the work of [[Quentin Matsys]],<ref name="h63"/> who had introduced a greater vitality and intimacy in the conception of sacred themes. Together they worked to preserve the traditions of the Bruges school against influences of the Italian Renaissance.<ref name=":0" />
He visited Antwerp in 1515 and was impressed with the work of [[Quentin Matsys]],<ref name="h63"/> who had introduced a greater vitality and intimacy in the conception of sacred themes. Together they worked to preserve the traditions of the Bruges school against influences of the Italian Renaissance.<ref name=":0" />


==Works==
==Works==
[[File:Rothschild Prayerbook - Crop2.jpg|thumb|300px|''Virgin and Child on a Crescent Moon'' in the ''[[Rothschild Prayerbook]]'', {{Circa|1500}}–1520]]
[[File:Rothschild Prayerbook - Crop2.jpg|thumb|upright=1.0|''Virgin and Child on a Crescent Moon'' in the ''[[Rothschild Prayerbook]]'', {{Circa|1500}}–1520]]
The works for which David is best known are the [[altarpiece]]s painted before his visit to Antwerp: the ''Marriage of St Catherine'' at the National Gallery, London; the triptych of the ''Madonna Enthroned and Saints'' of the [[Palazzo Rosso (Genoa)|Brignole-Sale collection]] in [[Genoa]]; the ''Annunciation'' of the Sigmaringen collection; and above all, the ''Madonna with Angels and Saints'' (usually titled ''The Virgin among the Virgins''), which he donated to the [[Carmelite]] Nuns of Sion at Bruges,<ref>"Flemish and German masterpieces from the National Gallery". National Gallery, London, 1920. 169</ref> and which is now in the [[Rouen]] museum.<ref>Campbell, 20</ref>{{sfn|Konody|1911}}
The works for which David is best known are the [[altarpiece]]s painted before his visit to Antwerp: the ''Marriage of St Catherine'' at the National Gallery, London; the triptych of the ''Madonna Enthroned and Saints'' of the [[Palazzo Rosso (Genoa)|Brignole-Sale collection]] in [[Genoa]]; the ''Annunciation'' of the Sigmaringen collection; and above all, the ''Madonna with Angels and Saints'' (usually titled ''The Virgin among the Virgins''), which he donated to the [[Carmelite]] Nuns of Sion at Bruges,<ref>"Flemish and German masterpieces from the National Gallery". National Gallery, London, 1920. 169</ref> and which is now in the [[Rouen]] museum.<ref>Campbell, 20</ref>{{sfn|Konody|1911}}


Line 53: Line 50:


The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, some believed that for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art.<ref name="met" />{{sfn|Konody|1911}}
The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, some believed that for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art.<ref name="met" />{{sfn|Konody|1911}}
[[File:Gerard David - The Marriage at Cana.jpg|thumb|300px|left|''[[The Marriage at Cana (Gerard David)]]'', {{Circa|1500}}. [[Louvre]]]]


Even in his best work he had only given newer variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902 [[Gruuthusemuseum]], Bruges [[Exposition des primitifs flamands à Bruges|exhibition of early Flemish painters]].{{sfn|Konody|1911}}
[[File:Gerard David - The Marriage at Cana.jpg|thumb|upright=1.2|left|''[[The Marriage at Cana (Gerard David)]]'', {{Circa|1500}}. [[Louvre]]]]
Even in his best work, he had only produced new variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902 [[Gruuthusemuseum]], Bruges [[Exposition des primitifs flamands à Bruges|exhibition of early Flemish painters]].{{sfn|Konody|1911}}


He also worked closely with the leading [[manuscript illuminator]]s of the day, and seems to have been brought in to paint specific important miniatures himself, among them a ''Virgin among the Virgins'' in the [[Morgan Library]], a ''Virgin and Child on a Crescent Moon'' in the ''[[Rothschild Prayerbook]]'',<ref name="Release">{{cite web|title=Release Announcement |url=http://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=6809 |publisher=[[Christie's]] |archive-url=https://web.archive.org/web/20131213233031/http://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=6809 |archive-date=13 December 2013 |url-status=live}}</ref> and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death.<ref>T. Kren & S. McKendrick (eds), ''Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe'', Getty Museum/Royal Academy of Arts, pp.&nbsp;344–365, 2003, {{ISBN|1-903973-28-7}}</ref>
He also worked closely with the leading [[manuscript illuminator]]s of the day, and seems to have been brought in to paint specific important miniatures himself, among them a ''Virgin among the Virgins'' in the [[Morgan Library]], a ''Virgin and Child on a Crescent Moon'' in the ''[[Rothschild Prayerbook]]'',<ref name="Release">{{cite web|title=Release Announcement |url=http://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=6809 |publisher=[[Christie's]] |archive-url=https://web.archive.org/web/20131213233031/http://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=6809 |archive-date=13 December 2013 |url-status=live}}</ref> and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death.<ref>T. Kren & S. McKendrick (eds), ''Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe'', Getty Museum/Royal Academy of Arts, pp.&nbsp;344–365, 2003, {{ISBN|1-903973-28-7}}</ref>


Less known but also of high quality are the works of David found in Spanish public collections. [[Museo del Prado|The Prado Museum]] in Madrid owns a table "Rest on the flight into Egypt" resembling the one in the Royal Museum of Fine Arts in Antwerp. The Prado also holds another two Works by the painter, one of them only attributed.<ref>{{Cite web|url=https://www.museodelprado.es/coleccion/artista/david-gerard/8f80636c-b720-4d00-977c-c9ec49b99c69?searchMeta=gerard%20david|title=David, Gérard – Colección – Museo Nacional del Prado|website=www.museodelprado.es|access-date=4 November 2019}}</ref> Another one of the Spanish capital's Museums, [[Thyssen-Bornemisza Museum|The Thyssen-Bornemisza]] holds a "Crucifixión"<ref>{{Cite web|url=https://www.museothyssen.org/en/collection/artists/david-gerard/crucifixion|title=The Crucifixion|website=Museo Nacional Thyssen-Bornemisza|language=en|access-date=4 November 2019}}</ref> from 1475.
Lesser-known but also of high quality are the works of David found in Spanish public collections. [[Museo del Prado|The Prado Museum]] in Madrid owns a table "Rest on the flight into Egypt" resembling the one in the Royal Museum of Fine Arts in Antwerp. The Prado also holds another two Works by the painter, one of them only attributed.<ref>{{Cite web|url=https://www.museodelprado.es/coleccion/artista/david-gerard/8f80636c-b720-4d00-977c-c9ec49b99c69?searchMeta=gerard%20david|title=David, Gérard – Colección – Museo Nacional del Prado|website=www.museodelprado.es|access-date=4 November 2019}}</ref> Another of the Spanish capital's Museums, [[Thyssen-Bornemisza Museum|The Thyssen-Bornemisza]] holds a "Crucifixión"<ref>{{Cite web|url=https://www.museothyssen.org/en/collection/artists/david-gerard/crucifixion|title=The Crucifixion|website=Museo Nacional Thyssen-Bornemisza|language=en|access-date=4 November 2019|archive-date=4 November 2019|archive-url=https://web.archive.org/web/20191104090854/https://www.museothyssen.org/en/collection/artists/david-gerard/crucifixion|url-status=live}}</ref> from 1475.


==Legacy==
==Legacy==
Line 67: Line 64:


== Gallery ==
== Gallery ==
{{See also|:Category:Paintings by Gerard David}}
<gallery widths="180" heights="180" perrow="4">
 
File:Gerard David - Adoration of the Shepherds (c. 1485) Google Art Project.jpg|''[[Adoration of the Shepherds (David)|The Adoration of the Shepherds]]'', c. 1485, [[Museum of Fine Arts, Budapest]]
<gallery widths="200" heights="200" perrow="4">
File:Gerard David - Deposition - WGA6004.jpg|''[[Lamentation (Gerard David)|Lamentation]]'', c 1495–1500. [[National Gallery, London]], UK
File:Gerard David - The Nativity.jpg|''The Nativity'', c. 1490, [[Museum of Fine Arts, Budapest]]
File:Gerard David - Lamentation - Google Art Project.jpg|''[[Lamentation (Gerard David)|Lamentation]]'', c 1495–1500. [[National Gallery, London]], UK
File:Gerard David - The Judgment of Cambyses, panel 1 - The capture of the corrupt judge Sisamnes.jpg|''The Judgment of Cambyses'', 1498. [[Groeninge Museum]], Bruges. Center panel
File:Gerard David - The Judgment of Cambyses, panel 1 - The capture of the corrupt judge Sisamnes.jpg|''The Judgment of Cambyses'', 1498. [[Groeninge Museum]], Bruges. Center panel
File:Doopsel van Christus, circa 1502 - circa 1508, Groeningemuseum, 0040009000FXD.jpg|''Triptych of Jean des Trompes'', 1505. Groeninge Museum, Bruges
File:Doopsel van Christus, circa 1502 - circa 1508, Groeningemuseum, 0040009000FXD.jpg|''Triptych of Jean des Trompes'', 1505. Groeninge Museum, Bruges
File:Gerard David - God the Father.jpg|''God the Father'' 1506, Louvre, Paris
File:Gerard David - God the Father.jpg|''God the Father'' 1506, Louvre, Paris
File:Gerard David - Altarpiece of St Michael (Central panel).jpg|''Altarpiece of St Michael'' c. 1510. [[Kunsthistorisches Museum]], Vienna
File:Gerard David - Altarpiece of St Michael (Central panel).jpg|''Altarpiece of St Michael'' c. 1510. [[Kunsthistorisches Museum]], Vienna
File:Gerard David - Virgin and Child with Four Angels - WGA6036.jpg|''[[Virgin and Child with Four Angels]]'', c. 1510–1515. [[Metropolitan Museum of Art]], New York
File:Virgin and Child with Four Angels MET DP-1410-001.jpg|''[[Virgin and Child with Four Angels]]'', c. 1510–1515. [[Metropolitan Museum of Art]], New York
File:Gerard David Le Christ au jardin des oliviers.jpg|''[[Agony in the Garden (David)|Agony in the Garden]]'', c. 1510–1520.[[Musée des Beaux-Arts de Strasbourg]], France
File:Gerard David Le Christ au jardin des oliviers.jpg|''[[Agony in the Garden (David)|Agony in the Garden]]'', c. 1510–1520.[[Musée des Beaux-Arts de Strasbourg]], France
File:Gerard David - Three Legends of Saint Nicholas - NG 2213 - National Galleries of Scotland.jpg|''Three Legends of Saint Nicholas'', {{Circa|1500-1520}}, [[Scottish National Gallery]]
File:Gerard David - Salvator Mundi, c. 1500, Cat. 330.jpg|''[[Salvator Mundi]]'', {{Circa|1500}}, [[Philadelphia Museum of Art]]
File:Gerard David - Salvator Mundi, c. 1500, Cat. 330.jpg|''[[Salvator Mundi]]'', {{Circa|1500}}, [[Philadelphia Museum of Art]]
File:Gerard David - Madonna and Child with the Milk Soup - Google Art Project.jpg|''Madonna and Child with the Milk Soup'', c. 1515. Oil on panel, 25 x 29&nbsp;cm, [[Royal Museums of Fine Arts of Belgium|Royal Museum of Fine Arts of Belgium]]<ref>{{Cite book |last1=Zuffi |first1=Stefano |url=https://www.worldcat.org/title/ocm53441832 |title=The Renaissance: 1401-1610: the splendor of European art |last2=Hyams |first2=Jay |last3=Seppi |first3=Giorgio |last4=Pauli |first4=Tatjana |last5=Scardoni |first5=Sergio |date=2003 |publisher=Barnes & Noble Books |isbn=978-0-7607-4200-6 |location=New York |oclc=ocm53441832}}</ref>
File:Gerard David - Madonna and Child with the Milk Soup - Google Art Project.jpg|''Madonna and Child with the Milk Soup'', c. 1515. Oil on panel, 25 x 29&nbsp;cm, [[Royal Museums of Fine Arts of Belgium|Royal Museum of Fine Arts of Belgium]]<ref>{{Cite book |last1=Zuffi |first1=Stefano |url=https://www.worldcat.org/title/ocm53441832 |title=The Renaissance: 1401-1610: the splendor of European art |last2=Hyams |first2=Jay |last3=Seppi |first3=Giorgio |last4=Pauli |first4=Tatjana |last5=Scardoni |first5=Sergio |date=2003 |publisher=Barnes & Noble Books |isbn=978-0-7607-4200-6 |location=New York |oclc=ocm53441832}}</ref>
File:Gerard David - The transfiguration.jpg|''Transfiguration of Christ''. [[Church of Our Lady, Bruges]]
File:Gerard David - The transfiguration.jpg|''[[Transfiguration of Christ (David)|Transfiguration of Christ]]''. [[Church of Our Lady, Bruges]]
File:Gerard David - Adoration of the Kings - Google Art Project.jpg|''[[Adoration of the Kings (Gerard David, London)|Adoration of the Kings]]'', 1515–1523, [[National Gallery]], London
File:Gerard David - Adoration of the Kings - Google Art Project.jpg|''[[Adoration of the Kings (Gerard David, London)|Adoration of the Kings]]'', 1515–1523, [[National Gallery]], London
File:Rust tijdens de vlucht naar Egypte, Gerard David, 16de eeuw, Koninklijk Museum voor Schone Kunsten Antwerpen, 47FXD.jpg|''Rest on the Flight into Egypt'', Gerard David, 16th century, Royal Museum of Fine Arts Antwerp
File:Rust tijdens de vlucht naar Egypte, Gerard David, 16de eeuw, Koninklijk Museum voor Schone Kunsten Antwerpen, 47FXD.jpg|''Rest on the Flight into Egypt'', Gerard David, 16th century, Royal Museum of Fine Arts Antwerp
File:Gerard David - Christ on the Cross - Google Art Project.jpg|''Christ on the Cross'', 1480–85, Royal Museum of Fine Arts Antwerp
File:Gerard David - Christ on the Cross - Google Art Project.jpg|''Christ on the Cross'', 1480–85, Royal Museum of Fine Arts Antwerp
File:Gerard David, Kunsthistorisches Museum Wien, Gemäldegalerie - Bildnis eines Goldschmiedes (wahrscheinlich Jacob Cnoop, der Schwiegervater Davids) - GG 970 - Kunsthistorisches Museum.jpg|''Portrait of a Goldsmith'', 1500s, Kunsthistorisches Museum
File:Gerard David, Kunsthistorisches Museum Wien, Gemäldegalerie - Bildnis eines Goldschmiedes (wahrscheinlich Jacob Cnoop, der Schwiegervater Davids) - GG 970 - Kunsthistorisches Museum.jpg|''Portrait of a Goldsmith'', 1500s, Kunsthistorisches Museum  
</gallery>
</gallery>


Line 94: Line 90:
===Sources===
===Sources===
{{refbegin}}
{{refbegin}}
* Ainsworth, Maryan Wynn. ''[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/75339/rec/1 Gerard David: Purity of Vision in an Age of Transition]''. NY: [[Metropolitan Museum of Art]], 1998. {{ISBN|0-87099-877-3}}
* Ainsworth, Maryan Wynn. ''[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/75339/rec/1 Gerard David: Purity of Vision in an Age of Transition] {{Webarchive|url=https://web.archive.org/web/20160304114415/http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/75339/rec/1 |date=4 March 2016 }}''. NY: [[Metropolitan Museum of Art]], 1998. {{ISBN|0-87099-877-3}}
* Ainsworth, Maryan Wynn; Christiansen, Keith. ''From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art''. NY: [[Metropolitan Museum of Art]], 2009. {{ISBN|0-87099-870-6}}
* Ainsworth, Maryan Wynn; Christiansen, Keith. ''From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art''. NY: [[Metropolitan Museum of Art]], 2009. {{ISBN|0-87099-870-6}}
* [[Lorne Campbell (art historian)|Campbell, Lorne]]. ''The Fifteenth-Century Netherlandish Paintings''. London: National Gallery, 1998. {{ISBN|0-300-07701-7}}
* [[Lorne Campbell (art historian)|Campbell, Lorne]]. ''The Fifteenth-Century Netherlandish Paintings''. London: National Gallery, 1998. {{ISBN|0-300-07701-7}}
Line 127: Line 123:
[[Category:Painters from Bruges]]
[[Category:Painters from Bruges]]
[[Category:People from Oudewater]]
[[Category:People from Oudewater]]
[[Category:15th-century Flemish painters]]

Latest revision as of 06:45, 27 May 2026

Template:Hatnote group Template:Infobox artist

Gerard David (c. 1460 – 13 August 1523) was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his life survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515. He was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges.[1] Like many painters of his period, his reputation diminished in the 17th century until he was rediscovered in the 19th century.

Life

He was born in Oudewater, now located in the province of Utrecht. His year of birth is approximated as c. 1450–1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his Virgin among the Virgins.[2][3] He is believed to have spent time in Italy from 1470 to 1480, where he was influenced by the Italian Renaissance.[3] He formed his early style under Albert van Oudewater in Haarlem, and moved to Bruges in 1483, where he joined the Guild of Saint Luke in 1484.[3][4]

Erwin Panofsky identifies David as a student of Geertgen tot Sint Jans.[5] Upon the death of Hans Memling in 1494, David became Bruges' leading painter. He became dean of the guild in 1501,[6] and in 1496 married Cornelia Cnoop, daughter of the dean of the goldsmiths' guild.[7] David was one of the town's leading citizens.[8] Ambrosius Benson served his apprenticeship with David. Around 1519 they had a dispute over a number of paintings and drawings which Benson had collected from other artists. David refused to return the materials because Benson owed him a large debt.[9] Benson sought legal recourse in court and after he won, David was condemned to a prison term.[10][11]

He died on 13 August 1523 and was buried in the Church of Our Lady in Bruges.[12]

Style

File:Gerard David - The Annunciation (The Angel and the Virgin).jpg
The Annunciation, 1506

David's surviving work mainly consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream-like serenity, achieved through soft, warm and subtle colourisation, and masterful handling of light and shadow.[13] He is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting.[2] His ability with landscape can be seen in the detailed foliage of his Triptych of the Baptism and the forest scene in the New York Nativity.[13]

Many of the art historians of the early 20th century, including Erwin Panofsky and Max Jakob Friedländer saw him as a painter who did little but distill the style of others and painted in an archaic and unimaginative style. However, today most view him as a master colourist, and a painter who, according to the Metropolitan Museum of Art, worked in a "progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition."[14]

In his early work David followed Haarlem artists such as Dirk Bouts, Albert van Oudewater,[3] and Geertgen tot Sint Jans, though he had already given evidence of superior power as a colourist. To this early period belong the St John of the Richard von Kaufmann collection in Berlin and the Salting's St Jerome. In Bruges, he came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures.[15]

He visited Antwerp in 1515 and was impressed with the work of Quentin Matsys,[2] who had introduced a greater vitality and intimacy in the conception of sacred themes. Together they worked to preserve the traditions of the Bruges school against influences of the Italian Renaissance.[3]

Works

File:Rothschild Prayerbook - Crop2.jpg
Virgin and Child on a Crescent Moon in the Rothschild Prayerbook, c. 1500–1520

The works for which David is best known are the altarpieces painted before his visit to Antwerp: the Marriage of St Catherine at the National Gallery, London; the triptych of the Madonna Enthroned and Saints of the Brignole-Sale collection in Genoa; the Annunciation of the Sigmaringen collection; and above all, the Madonna with Angels and Saints (usually titled The Virgin among the Virgins), which he donated to the Carmelite Nuns of Sion at Bruges,[16] and which is now in the Rouen museum.[17][15]

Only a few of his works have remained in Bruges: The Judgment of Cambyses, The Flaying of Sisamnes and the Baptism of Christ in the Groeningemuseum, and the Transfiguration in the Church of Our Lady.[15]

The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, some believed that for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art.[14][15]

File:Gerard David - The Marriage at Cana.jpg
The Marriage at Cana (Gerard David), c. 1500. Louvre

Even in his best work, he had only produced new variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902 Gruuthusemuseum, Bruges exhibition of early Flemish painters.[15]

He also worked closely with the leading manuscript illuminators of the day, and seems to have been brought in to paint specific important miniatures himself, among them a Virgin among the Virgins in the Morgan Library, a Virgin and Child on a Crescent Moon in the Rothschild Prayerbook,[18] and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death.[19]

Lesser-known but also of high quality are the works of David found in Spanish public collections. The Prado Museum in Madrid owns a table "Rest on the flight into Egypt" resembling the one in the Royal Museum of Fine Arts in Antwerp. The Prado also holds another two Works by the painter, one of them only attributed.[20] Another of the Spanish capital's Museums, The Thyssen-Bornemisza holds a "Crucifixión"[21] from 1475.

Legacy

At the time of David's death, the glory of Bruges and its painters was on the wane: Antwerp had become the leader in art as well as in political and commercial importance. Of David's pupils in Bruges, only Adriaen Isenbrandt,[3] Albert Cornelis, and Ambrosius Benson achieved importance. Among other Flemish painters, Joachim Patinir, Jan Mabuse and the Master of the Plump-Cheeked Madonnas were to some degree influenced by him.[15][22]

David's name had been completely forgotten when in 1866 William Henry James Weale discovered documents about him in the archives of Bruges; these brought to light the main facts of the painter's life and led to the reconstruction of David's artistic personality,[3][14] beginning with the recognition of David's only documented work, the Virgin Among Virgins at Rouen.[23]

References

Notes

  1. ↑ Campbell, 116
  2. ↑ 2.0 2.1 2.2 Hand, 63
  3. ↑ 3.0 3.1 3.2 3.3 3.4 3.5 3.6 Lesberg, Sandy, ed. (1974) [1966]. "Glossary of Gothic Art". Gothic Art. New York: Peebles Press International. ISBN 0-85690-033-8. OCLC 2163980.
  4. ↑ Ainsworth (1998), 93
  5. ↑ Erwin Panofsky. Early Netherlandish Painting. Page 177.
  6. ↑ Ainsworth (1998), 2
  7. ↑ Cuttler, Charles D. "Northern painting from Pucelle to Bruegel". Holt, Rinehart and Winston, 1968. 190
  8. ↑ Additional documents were presented by Hans J. van Miegroet, "New Documents Concerning Gerard David" The Art Bulletin 69.1 (March 1987:33–44).
  9. ↑ Harbison, 73
  10. ↑ Nash, 168, 193
  11. ↑ Scheller, Robert W. Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (c. 900 – c. 1470). Amsterdam: Amsterdam University Press, 1995. p. 79.
  12. ↑ "Gerard David :: Biography". Virtual Uffizi Gallery. Archived from the original on 11 August 2021. Retrieved 11 August 2021.
  13. ↑ 13.0 13.1 Ridderbo et al., 157
  14. ↑ 14.0 14.1 14.2 "Gerard David (born about 1455, died 1523) Archived 11 September 2013 at the Wayback Machine". Metropolitan Museum of Art. Retrieved 15 February 2013
  15. ↑ 15.0 15.1 15.2 15.3 15.4 15.5 Konody 1911.
  16. ↑ "Flemish and German masterpieces from the National Gallery". National Gallery, London, 1920. 169
  17. ↑ Campbell, 20
  18. ↑ "Release Announcement". Christie's. Archived from the original on 13 December 2013.
  19. ↑ T. Kren & S. McKendrick (eds), Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, Getty Museum/Royal Academy of Arts, pp. 344–365, 2003, ISBN 1-903973-28-7
  20. ↑ "David, Gérard – Colección – Museo Nacional del Prado". www.museodelprado.es. Retrieved 4 November 2019.
  21. ↑ "The Crucifixion". Museo Nacional Thyssen-Bornemisza. Archived from the original on 4 November 2019. Retrieved 4 November 2019.
  22. ↑ D. Martens, 'Le Maître aux Madones Joufflues: Essai de monographie sur un anonyme brugeois du XVIme siècle,' Wallraf-Richartz-Jahrbuch LXI, 2000, pp. 112-115, 141, n. 23, figs. 1, 6, 15 (in French)
  23. ↑ Weale, Gerard David, Painter and Illuminator 1895; the Virgo inter Virgines appears in a 1527 inventory of the Carmelite convent of Sion at Bruges.
  24. ↑ Zuffi, Stefano; Hyams, Jay; Seppi, Giorgio; Pauli, Tatjana; Scardoni, Sergio (2003). The Renaissance: 1401-1610: the splendor of European art. New York: Barnes & Noble Books. ISBN 978-0-7607-4200-6. OCLC 53441832.

Sources

Template:Commons-inline

Template:Gerard David Template:Early Netherlandish painting

Template:Authority control (arts)

Retrieved from "https://wiki.tachyony.co.uk/w/index.php?title=Gerard_David&oldid=109806"