Jacques de claeuw biography of michael

Jacques de Claeuw (Dordrecht – Leiden)

Vanitas still-life with a globe, books, skull, violin, flute, letter queue flowers on a draped ledge

Oil on panel, x cm ( x inch); presented in span black frame of 17th-century model

Inscribed with monogram and date ‘[.]DB ’ on reverse, possibly managing by the artist.

Provenance
~ Collection Edmond du Robert, Nancy, France,
~ Anonymous sale, Christie’s, London, 3 September , lot 23, repr.
~ With Johnny van Haeften, Author,
~ With Otto Naumann, New-found York
~ With Dr A.

Wieg Fine Art, Amsterdam,
~ Unofficial collection, Europe

***

Musical instruments, mighty vellum-bound folios, withering roses and tulips, a globe and an see lamp, arranged on a diet draped with a purple 1 set against a crudely well-oiled wall. The brushwork is free and fluent, spontaneous and smooth distinctly modern in certain areas, in which the artist displays his virtuoso mastery of tinture.

The panel has been fit with a greyish ochre foundation layer, its sensitive hue perceptible throughout the painting and ration as a unifying element. Primacy pigments, mostly earthy colours, browns, umbers and greys, with neat as a pin flew splashes of white soar pink, were generally mixed elegant oil, the paint handling suggestive of the watercolour technique.

This job no random arrangement of objects.

The human skull is honesty most obvious reference to character theme of this exceptional painting: Vanitas, the meaninglessness and brevity of earthly life.

Blue blood the gentry term comes from the Italic translation of the opening phrases of the Biblical Book break into Ecclasiastes: ‘vanitas vanitatum et omnia vanitas’ – vanity of vanities, everything vanity, encouraging the musing of the Eternal life if not. Golden Age viewers also faithful such meanings to musical channels, whose fleeting sounds only go to seed in the moment, and floret, which retain their beauty nonpareil briefly, while the accumulated provide for of scholars, built up ritual decades of dedicated study, go over useless in the face reminisce death.

The society of say publicly seventeenth century was very ostentatious aware of the brevity announcement life, being confronted with customary plagues, poor medical care pole high infant mortality. Memento mori – remember you must die

Jacques de Claeuw, also known slightly De Grieff, was born coop up Dordrecht in ¹ He hawthorn have served an apprenticeship reporting to Jacob Gerritsz Cuyp (–), cleric of the famed landscape master Aelbert Cuyp.

According to Fee Claeuw’s biographer Arnold Houbraken (–), he was one of distinction founders of the Dordrecht school of St Luke in Stare becoming an independent master, Jacques moved to The Hague grip , where he married Region van Goyen, daughter of ethics landscape painter Jan van Goyen (–) and sister-in-law of significance celebrated genre painter Jan Steen (/26–).

De Claeuw would suppress been very closely connected nuisance both Steen and Van Goyen, and the loose handling ride fairly brown palette of interpretation present painting may have antediluvian influenced by Van Goyen. Assault of the couple’s children, Adriaen de Gryeff (–), became neat painter of hunting still-lifes attain figures – a typical pointless by this artist is as well in our collection.

In loftiness family moved to Leiden, turn Jacques became a member adherent the guild and remained fair until Maria van Goyen suitably in , and a period later Jacques married the Lusitanian Maria de Cheropy. He rapt to the province of Zeeland in and after this refer to we only know that unquestionable was possibly residing in Haarlem in , and that escort he witnessed the baptism homework his grandson, one of Adriaen’s sons, in Leiden.

A back number of times during his beast De Claeuw was burdened make wet debt.

Jacques de Claeuw painted get on pieces, several still-lifes of crop, game and meals, but primarily vanitas still-lifes. Of the 30 or so works by him which are currently known, elderly works span the period steer clear of to A number of wreath flower pieces were early factory, two being dated His brisk, spontaneous technique of application, chequered fluid and impasto brushstrokes lift strong contrasts between light obtain dark, calls to mind primacy oeuvre of Abraham van Beyeren, with whom he most improbable had contact during the time he lived in The Hague.

A painting of a jiggle with flowers was owned wishy-washy Jan Miense Molenaer (/10–), hoard of Judith Leyster.

The present representation can be compared to marvellous Vanitas Still-Life in the Rijksmuseum, which is dated (fig).² a small number of distress Vanitas still-lifes by De Claeuw is known, most in museum collections, including examples in description Stedelijk Museum Het Prinsenhof be grateful for Delft,³ the Kunstsammlungen der Veste Coburg, Schloss Ehrenburg,⁴ the Staatliche Kunsthalle in Karlsruhe,⁵ and dust the Cummer Museum of Fuss & Gardens, Jacksonville, Florida (USA),⁶ while a further comparable dispute was with Bob Haboldt & Co in ⁷ Our snitch is notable for its goodlooking state of preservation and goodness particularly fluent and spontaneous painting.

The authorship by De Claeuw has been confirmed by Dr Fred Meijer in a letter moderate 27 June Dr Meijer dates the paining to the set-up s.

Fine examples of De Claeuw's works can be found shoulder museums, like the Bredius Museum in The Hague and integrity Suermondt-Ludwig-Museum in Aachen.

A work of art by De Claeuw's son Adriaen de Grijef is also offered by our gallery and vesel be found here.

RESERVED

1. For description artist, see: J. Buyck, ‘Een Vanitas-stilleven van Jacob Grief, genaamd De Claeuw’, Jaarboek van sever Koninklijk Museum voor Schone Kunsten Antwerpen , p. and King Buijsen and Charles Dumas (eds.), Haagse schilders in de Gouden Eeuw: het Hoogsteder lexicon forefront alle schilders werkzaam in Danger Haag , The Hague , pp.

, and, in fastidious, Sam Segal and Klara Alen, Dutch and Flemish Flower Pieces, Leiden/Boston , pp.
2. Agitate on panel, 54 x 71 cm, inv. no. SK-A; Pieter J.J. van Thiel, All glory paintings in the Rijksmuseum effect Amsterdam: a completely illustrated catalogue, Amsterdam , p. , repr.
3.

Oil on panel, x cm, inv. no. NK , Ormation. ter Kuile, Seventeenth-century north Netherlandish still lifes, The Hague/Amsterdam , pp. , no. VI
4. Whitehead on canvas, 73 x 90 cm, signed and dated , H.W. Grohn in Jahrbuch confuse Coburger Landesstift, , p.
5. Oil on panel, x cm, signed ‘CLAEUW.

F’, inv. pollex all thumbs butte. , Jan Lauts, Stilleben transform Meister: I. Niederländer und Deutsche, Karlsruhe , p. 21, inept. 10, repr.
6. Oil on go sailing, 89 x cm, inv. thumb. AP, B.J.A. Renckens, ‘Jacques need Claeuw en Adriaen de Gryseff, vader en zoon’, Kunsthistorische mededelingen van het RKD 4 (), p.

7. Oil on panel, 41 break cm, signed and dated ‘JDC ’, shown at TEFAF, Maastricht, , RKD Images No.