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210
Journal of the Warburg and Courtauld Institutes, Volume 55, 1992
I
In modern (and usually in seventeenth-century) Dutch, 'houding' means 'bearing',
'posture' or 'attitude'; but in Golden Age art theory its meaning was generally more
technical. The first discussion of its theoretical sense occurs in the ninth chapter of
Willem Goeree's Inleyding tot d'AlgemeeneTeykenkonst:
CHAPTERIX.
Whichtreatsof Houding, orPerspec-
tive of light and shade,
bywhichthingscomeforward,
and recedebackward.
Houding is one of the most essential things to be observed in a Drawing or Painting; since it
gives the same sensation to the eye, that we enjoy in the contemplation of natural objects.
For whenever Houding is not found in representational images, such Drawings and Paintings
are senseless, and more than half dead. Also, through the lack of Houding, things appear
entangled in one another, packed together, or falling towards us in a tumble; such that there
is nothing in the whole of art which runs more against reason, than to place things without
Houding... We need, then, to show what Houding is, and the remarkable feat which is
necessary to achieve it. Houding, to express both the artistic sense of the word and the power
of its nature, is that which makes everything in a Drawing or Painting advance and recede,
and makes everything from the nearest point to the most central, and from there to the
most distant, stand in its own position, without seeming nearer or further, lighter or darker,
than its distance or closeness permits; placing each thing, without confusion, separate and
well apart from the objects which are next to and around it, so it remains in its own position,
in respect of size and colour, light and shadow; yes, being able to trace the interval of a
place, or distance which is open and empty between each object, receding or advancing
naturally to the eye, as if it were accessible with one's feet, and finding everything planted in
its own place; this is what one calls Houding...
9 L. de Vries, Diamante Gedenkzuilenen LeerzaemeVoor- en Schilderessen,
The Hague 1750-51, i, p. 17), but when
beelden:een besprekingvan Johan van GoolsNieuwe Schou- he used it in its art-theoretical sense he only used the
burg, Groningen 1990, p. 55. As suggested below (p. meaning laid down in this article, it seems to me: see for
220), 'houding'could have different meanings at differ- example ibid., i, pp. 148, 150, 180, 345, 384.
ent times; sometimes its everyday sense was employed in 10 T. J. Broos, TussenZwarten Ultramarijn.De levensvan
preference to its art-theoretical sense. Van Gool cer- schilders beschrevendoor Jacob Campo Weyerman(1677-
tainly used the word in its everyday sense on occasion 1747), Amsterdam 1990, pp. 172, 331.
(e.g. De Nieuwe Schouburgder NederlantscheKunstschilders
12 Goeree (as in n. 1), p. 130. et certains eclats dans le Ciel qui sont aupres du Saint
13 Van de Wetering (as in n. 8), pp. 33-37, discusses Jean et aux environs de la tkte et des bras du Christ, et
some of the ways in which Rembrandt placed darker qui etant dans une teinte obscure font davantage
colours before lighter ones in the pictorial space and paroitre la lumiere du Ciel et la force du jour, fit con-
still preserved the illusion of three dimensions. He also siderer que cette clarte qui vraisemblablement doit
considers an interesting passage from Hoogstraeten s'approcher davantage, et venir fraper les yeux, est
which attacks the idea that only light colours seem neanmoins si bien mise en sa place, que les autres corps
to advance through space. (Hoogstraeten, as in n. 3, pp. plus bruns ne laissent pas de s'avancer, et que les jours
306-09.) Cf. also A. Felibien, Entretienssur les vies et sur demeurent derriere dans leur lieu naturel. D'oiY l'on
les ouvragesdes plus excellenspeintres..., v, Trevoux 1725, peut apprendre que quand les couleurs sont bien trai-
pp. 350-51: 'Conferences de l'Academie Royale: tees, le clair et le brun demeurent tant6t loin et tant6t
seconde conference'. Philippe de Champaigne is discus- proche, et que c'est la maniere de disposer le sujet, les
sing Titian's Entombment(P1. 39b): '[Philippe de Cham- jours et les ombres qui contribui encore A la force ou A
paigne] montra l'artifice dont il [le Titien] s'est servi l'affoiblissement de couleurs, qui sert beaucoup A faire
pour mieux faire paroitre les jours et les ombres; et fuir ou avancer les corps.
I'Academie faisant voir certaines echapees de lumieres,
(Deze Boot, als zynde het voorste, verbeelden wy heel verguld, en krachtig van flikkering,
tegen de schaduwe der boomen en steenrots. Het voorste vliegende beeld, op dezelve
distantie, geef ik een licht rood kleed tegen het donkere der zelve rots, met zodanig een
kracht dat het met de schuit overeen komt. De twede, daar aan volgende, heeft een schoon
groen kleed, mede licht, tegen de gemelde rots, alwaar dezelve, van een halve koleur,
flaauwer werd; terwyl de derde, die zich noch verder en in de schaduwe bevind, welke een
donker blaauw kleed, tegen het diepste des hols of doorzicht, 't geen licht is, nevens de
lucht, welke zich geelachtig blaauw vertoont, afsteekt en op zyne plaats blyft. Het staande
beeld, op de wykende zyde des boots, steekt met een donker en gloeijend geel kleed, tegen
het voorgemelde doorzicht, met meerder kracht af, dan het blaauwe kleed, en minder als de
voorsteven van de boot, die het meeste geweld doet, als zynde de grootste party, welke met
de weerschyn in het water verdubbeld word. Aan de overzyde der rivier ziet men tegen de
boomen noch andere beelden, zo naakt als met zwakke koleurde kleedingen, gelyk appel-
bloesem, blaauw, lichte we rschyn, en wit, hier en daar met wat geel geschakeerd; en hunne
schynsels met die van't groen der boomen in het water spiegelen, strekkende tot tegendeel
der andere zyde. Deze beelden, hoewel zwak en licht, zyn na hunne vermindering in kracht
gelyk met het middelste vliegende beeld als op eene distantie; dewyl zy van eene natuur in
halve koleuren bestaan: even gelyk het rood van het voorste vliegende beeld met het geel
van't schuitje, beide geweldige koleuren, overeenkomt. De Roeijers zyn in't donker blaauw.
Dit Voorbeeld strekt niet alleen in't byzonder tot aanwyzing van zulk een Ordinantie,
maar in't generaal van zodanige als men zoude konnen bedenken. Niet dat voor aan een
geel voorwerp moet weezen achter een blaauw, en in het midden een groen, purper of
paarsch; maar zodanig van koleur als men begeert: want men zou, in plaats van deze
vergulde boot, een roode konnen stellen; en aan het voorste vliegende beeld, in ste& van
een roode, een geel kleed voegen; wel te verstaan als men elk een bekwaame achtergrond
gave. Hoewel nu het geel der boot en het roode kleed van't beeld twee geweldige koleuren
zyn, zo zyn zy echter noch eenigsins onderscheiden van natuur: en vermits het geel uit zich
zelve lichter is als het rood, vereischt het rood ook een donkerder koleur dan het geel, om
af te steeken.
Als men nu, in plaats van de beelden aan de overzyde van het water, welke appel-
bloessem, blaauw, enz. gekleed zyn, andere koleuren wilde voegen, als groen, of rood; zo
kan men mede zyne vryheid daar in neemen, wanneer men...een bekwaame grond daar
achter stelt, waar door zy na hunne distantie afsteeken: want schoon zy in het verschiet zyn, is
19 Hoogstraeten (as in n. 3), p. 176; discussed by Slive edn Haarlem 1604); the passage appears on pp. 130-31
(as in n. 5), pp. 97-98. Playing cards seem to have been in H. Miedema's translation into modern Dutch with
a standard fixture in contemporary aesthetic abuse: see commentary, Den Grondt der Edel Vrij Schilder-Const,
Sandrart (as in n. 4, quoted below on pp. 226f), and G. Utrecht 1973. It is interesting that, according to Van
Vasari, Le vite de' piz eccellentiarchitetti,pittori et scultori Mander, some (presumably Netherlandish) artists criti-
italiani, ed. R. Bettarini and P. Barocchi, Florence 1966, cized Michelangelo's LastJudgementfor its lack of such
i, p. 126 (edn Florence 1568, i, p. 49): 'Cosi nella pittura a view: 'T'is veel gebruyckt geweest van Tinturetten/
si debbono adoperare i colori con tanta unione, che e' T'ordineren, soo met groepen oft knoopen, / En An-
non si lasci uno scuro et un chiaro si spiacevolmente gelus oordeel is oock veel metten / Hoopkens geordi-
ombrato e lummeggiato che e' si faccia una discordanza neert, maer doch besmetten / Eenighe zijn eere, niet
et una disunione spiacevole, salvo che negli sbattimenti, om de hoopen, / Maer dat hy om de Beelden hem
che sono quell'ombre che fanno le figure adosso l'una verloopen / Heeft, in 'tgheen d'ordinancy mach be-
all'altra, quando un lume solo percuote adosso a una langhen, / Datter en niet zijn inzichtige ganghen. //
prima figura che viene ad ombrare col suo sbattimento Niet latende sien, als eenighe souden, / Een insien van
la seconda. E questi ancora, quando accaggiono, eenen Hemel ontsloten, / En voor aen yet groots, so sy't
voglion esser dipinti con dolcezza et unitamente, per- wenschen wouden: / Maer wie en sal dit niet ten besten
che chi gli disordina viene a fare che quella pittura par houden, / Siende dit werck al vol Consten doorgoten, /
piti presto un tappeto colorito o un paro di carte da giu- Van de gheleerde handt des Bonaroten,/ Soo veel acten
care che carne unita o panni morbidi o altre cose piu- verscheyden van fatsoene / Der naeckten, daer het hem
mose, delicate e dolci.' It would seem, however, that om was te doene.' (It was a common practice of Tinto-
Hoogstraeten is here using the comparison to refer to retto to compose his pictures with groups or knots [of
the other paintings' lack of kracht,rather than to a lack figures], and Michelangelo's Last Judgementis also very
of smoothness in their chiaroscuro. For a discussion of much composed in terms of small groupings; but there
unione see below, pp. 222f. are some who besmirch [Michelangelo's] honour, not
20 Compare Vasari's use of the word forza' in the on account of the groupings, but because his interest in
quotation on p. 223 below. the figures has led him to err in a matter which can be
21 K. van Mander, 'Den Grondt der Edel Vrij Schilder- of importance in the art of composition: namely, that
Const', v, 12, in Het Schilder-Boeck,Amsterdam 1618 (1st there are no paths into the picture for the eyes. He does
The words discussed above did not all enter the vocabulary of Dutch art theory at
the same time. 'Doorsien'and 'welstand'were used by Van Mander in Het Schilder-boeck
(1604) in the senses I have given, but 'kracht', 'geweld'and 'houding' were not used
there with their later meanings.26 'Kracht'and 'geweld'make their first such appear-
ances with Angel's Lof der Schilderkonst of 1642,27 and 'houding' with Goeree's
Inleyding tot d'Algemeene Teykenkonstof 1668. 'Houding' had also been used by Angel,
whilst attacking neatness in painting, but it is difficult to extract its meaning from
the context:
For, dear me, what is a painting, if one sits chewing over it for months, trying to grind it
down as fine as possible, if not one single sweet remnant of a houdingcan be found in it? In
truth, not a great deal...
24 P. Angel, Lofder Schilderkonst, Leiden 1642, facs. rprt p. 471, and idem, Kunst, Kunstenaar en Kunstwerk bij
Utrecht 1969, pp. 39-40. Karel van Mander,Alphen aan den Rijn 1981, pp. 121,
25 Cf. G. B. Armenini, De' veri precetti della pittura, ed. 245. For doorsiensee above n. 21.
M. Gorreri, Turin 1988, pp. 101-02 (1st edn Ravenna 27 See H. Miedema, De terminologie van Philips Angels
1587: pp. 83-84). Lof der Schilder-konst, alfabetisch en systematisch gerangschikt,
26 For 'welstandicheyt' see Van Mander (as in n. 21), v, Amsterdam 1975 [n.p.].
19; also the brief discussions in Miedema (as in n. 21),
28 Angel (as in n. 24), p. 55. more than the enlightned part it selfe. As for the word
29 Emmens (as in n. 6) suggests that Franciscus Harmoge, it seemeth to signifie nothing else but an
Junius's word 'harmoge' had a similar meaning to unperceivable work of art, by which an artificer steal-
'houding'.Junius seems to have split the meaning of ingly passeth over from one colour into another, with an
'houding'between 'harmoge'and 'tonus' both of which he insensible distinction.' The Painting of the Ancients, in
derives from Pliny: 'We learne then distinctly out of the Three Bookes... WrittenFirst in Latine by FranciscusJunius, E
former consideration, That nothing can be bright, as E And Now by Him Englished, with Some Additions and
Seneca speaketh, without the mixture of light. And that a Alterations,London 1638 (facs. rprt Farnborough 1972),
good while after the invention of Light and Shadow, pp. 279-80; F. Junius, The Literature of Classical Art, i,
there was added unto Picture a certain kind of brightnesse, (The Painting of the Ancients), eds K. Aldrich, P. Fehl and
sayth Pliny, being an other thing than Light. This brightnesse R. Fehl, Berkeley, Los Angeles and Oxford 1991, pp.
was named Tonus, because it was something between light and 247-48. The relevant passage of Pliny: 'Postea deinde
shadow. As for the commissures and transitions of colours, they adiectus est splendor, alius hic quam lumen. Quod inter
were known by the name of Harmoge. The word 7bnus haec et umbras esset appellarunt tonon, commissuras
therefore seemeth to signifie an intention of light; vero colorum et transitus harmogen.' Historia naturalis,
namely, when one or other inlightned part of the xxxv, 29; for a brief but useful discussion of this passage
picture becommeth more vigorously bright, by making see J. Gavel, Colour: a study of its Position in the Art Theory
that which before was esteemed lightsome enough, of the Quattro- and Cinquecento, Stockholm 1979, p. 107.
serve for a shadow to what wee would have sticke off
31 Vasari (as in n. 19), i, pp. 124-125, 128 (1568 edn, i, painted in the style he castigates-'si come usavano di
pp. 48-49, 50). This passage was quoted in translation fare gia alcuni pittori'-but it seems that he was being
by F. Pacheco, El Arte de la Pintura, ed. B. Bassegoda i deliberately polite. Tintoretto remained persistently
Hugas, Madrid 1990 (1st edn 1649), pp. 397-98. blase about soft sfumatothroughout his career, and ap-
Pacheco translated 'unione' as 'uni6n', and related it pears to have been noted for the fact by his contem-
closely to 'suavidad' Cf. the definition of union in R. de poraries or near-contemporaries. Carlo Ridolfi wrote in
Piles, Termesde Peinture,affixed to the end of the Conver- 1646 that, 'Ne gia come alcuni poco conoscitori del
sations sur la connoissance de la Peinture, Paris 1677: buono dell'Arte si credono, furono quelle opere fatte
'Accord & simpathie que les couleurs ont les unes avec dal Tintoretto per disprezzo, non vedendovisi certa
les autres. On dit, voila un Tableau d'une grande union. sfumatezza di colori, che appaga l'occhio de' meno
Et quand cette union est grande & bien entendfie l'on intendenti; poiche non sempre e lodato nel Pittore
peut I'appeller suavite.' For a discussion of unione, see l'usar le delicatezze e'l finimento'. Le maravigliedell'arte,
R. LeMolle, GeorgesVasariet le vocabulairede la critiquede ed. D. von Hadeln, Berlin 1914 (1st edn Venice 1648),
I'artdans les 'Vite',Grenoble 1988, pp. 19-42. For a gen- ii, p. 33, quoted by P. Sohm, Pittoresco:MarcoBoschini,his
eral discussion of Italian attitudes to colour and per- Critics, and their Critiques of Painterly Brushwork in
spective, see Gavel (as in n. 29), pp. 119-32. Seventeenth-and Eighteenth-Century Italy, Cambridge 1991,
32 Both Vasari and Armenini connected unione with p. 55. See also ibid., pp. 39, 84, 85, 161.
music. See Vasari (as in n. 19), i, p. 127 (1568 edn, i, p. 34 Armenini (as in n. 25), p. 127 (1587 edn, p. 107).
49): '... lo unito che tenga in fra lo acceso e lo abbagli- 35 For Baldinucci, unire was a specific process of blur-
ato perfettissimo e diletta l'occhio, come una musica ring wet paints into one another with the brush: 'Unire,
unita et arguta diletta lo orecchio'; and Armenini (as in congiugnere. Et unire termine de' Pittori; e dicesi de'
n. 25), pp. 126-27 (1587 edn, pp. 106-07): '...una bella colori, e del colorito, quando si levano loro le crudezze,
varieta di colori accordata rende a gli occhi quello che che appariscon fra l'uno e l'altro, facendo vi sia dovuta
all'orrechie suol fare una accordata musica, quando le unione fra essi e le mezze tinte, o altri colori, che stieno
voci gravi corrispondono all'acute e le mezzane accor- loro vicino, accioch? venga la pittura piii pastosa: questa
date risuonano, si che, di tal diversitA,si fa una sonora e operazione si fa quando la stessa pittura ? fresca, con
quasi una maravigliosa unione di misure, onde gli animi pennelli grossi e morbidi.' F. Baldinucci, Vocabolario
con meraviglia trattiene.' toscanodell'artedel disegno,Florence 1681, p. 182.
33 Vasari writes here in the past tense of artists who 36 See below, p. 227 and n. 44.
37 De schilder-const, eerste in Latynze vaerzen beschreven door qu'il leur etoit possible. Ils donnoient sur cette pate
C. A. du Fresnoy: in't Frans gebragt, en met aantekeningen toute fraiche par des coups legers et par des teintes
verrijkt door De Piles, nevens een zaamenspraak over het Kolor- Vierges, la force et les fraicheurs de la nature, et finis-
iet; nu in't Nederlands vertaalt doorJ. erhoek, Amsterdam soient ainsi le travail qu'ils observoient dans leur
1733, p. 30. modele. La difference qui est entre ces deux Peintres
'8 The passage occurs in a comparison of Titian and sur ce sujet, c'est que le Titien rendoit ses recherches
Rembrandt in R. de Piles, Abregi de la Vie des Peintres, 2nd plus imperceptibles et plus fondues, et qu'elles sont
edn, Paris 1715, pp. 426-27: 'Ces deux Peintres etoient dans Rambrant tres-distinguees i les regarder de pres;
convaincus qu'il y avoit des couleurs qui se detruisoient mais dans une distance convenable, eles paroissent tres-
l'une l'autre par l'exces du melange; qu'ainsi il ne faloit unies par la justesse des coups, et par les accords des
les agiter par le mouvement du Pinceau que le moins couleurs.'
qu'on pouvoit. Ils preparoient par des couleurs amies 3• See her article on pp. 233-48 of this volume (p.
une premiere couche la plus approchante du naturel 241).
However, although there were close links between 'union' and 'houding', the
French concept was rather broader than its Dutch counterpart. The notion of har-
mony current in France was nearer to that of our own century than the one we find
used by Hoogstraeten and Lairesse. French art theorists laid great emphasis on the
necessity of using colour to express depth, as we have just seen; but they also
thought of the union of a piece as something more purely formal. Colour harmony
was not simply a matter of creating a pleasing illusion, for colours could agree with
one another simply as colours. This richer notion of harmony and union is evident
in the next passage, from an earlier Confirence of the Academie Royale. Philippe de
Champaigne has finished discussing Titian's Entombment (P1. 39b), and 'l'Academie'
-Le Brun again, one assumes-adds certain remarks, including the following:
It is also to preserve this same harmony of colours and this beautiful union of tints that Saint
John is dressed in a red cloak, picked out with a little yellow on the highlights. For thus it
harmonizes very well with the green tunic of Nicodemus; it unites agreeably with the Mag-
dalene's dress, and is not too distant from the red garment of Joseph of Arimathea, and
moreover it serves to make the arm of Christ which crosses over it appear more clearly.
(C'est encore pour conserver cette meme harmonie de couleurs et cette belle union des
teintes que Saint Jean est vetu d'un manteau rouge, releve d'un peu de jaune sur les clairs.
Car ainsi il s'accorde fort bien avec l'habit vert de Nicodeme; il s'unit agreablement a la
robe de la Magdeleine, et ne s'eloigne pas du vetement rouge de Joseph d'Arimathie, et de
'
plus il sert faire paroitre davantage le bras du Christ qui passe par-dessus.)41
These comments show that same concern for depth creation which was present in
the earlier quotation-the red cloak 'sert a faire paroitre davantage le bras du
Christ qui passe par-dessus'-but they also show colour relations relished for their
own sakes: 'il s'accorde fort bien avec l'habit vert de Nicodeme; il s'unit agreable-
ment • la robe de la Magdeleine'. In these latter remarks a concern with what the
40 Felibien (as in n.
13), v, pp. 465-66: 'Conf6rences colofisau sieclede Louis XIV,Paris 1957.
de 1'Academie Royale: septieme conf6rence'. For more 41 Felibien (as in n. 13), v, p. 354: 'Confrrences de
on the debates over colour and space in 17th-century 1'Acadimie Royale: seconde conference'.
France see B. de Teyssedre, Rogerde Piles et les debatssur le
42 Sandrart, following Van Mander, confused father due to a mistranslation of Lampsonius. See C.
Joos van
Cleve with his mad son Cornelis; the name 'Sotte Cleef' Scaillierez, Joos van Cleve au Louvre, exhib. cat., Musie
('Van Cleve the Fool'), together with a fanciful rationale du Louvre, Paris 1991, pp. 7-14.
for its application, seem to have become attached to the 43 See n. 42.
44 Sandrart (as in n. 4), i, 3, p. 85. Sandrart was not Artifex and the Library of the Artist in the XVIth and
alone in praising Rembrandt's control of houding: XVIIth Century', in De arte et libris. FestschriftErasmus
Andries Pels wrote of him that, 'voor niet een van all'die 1934-1984, Amsterdam 1984, pp. 11-22.
meesters week / in houding noch in kracht van koloryt 46 Amsterdam, Rijksmuseum, inv. no. C5. Canvas, 363
bezweek': GebruikMnMisbruik des Tooneels,Amsterdam x 437 cm., signed and dated 'Rembrandt f 1642'. The
1681, pp. 35-37 (quoted by Slive, as in n. 5, p. 210, and literature on this painting is not reproducible in a foot-
Emmens, as in n. 6, p. 75). note. See Bruyn's comments in A Corpusof Rembrandt
45 For the small number of art-theoretical texts in Paintings (as in n. 7), iii, 1989, pp. 430-85, for an intro-
surviving inventories of artists' book collections, see B. duction; see also Van de Wetering (as in n. 8), pp.
Brenninkmeyer-de Rooij's comments in B. Haak, The 12-39.
Golden Age. Dutch Painters of the Seventeenth Century, 47 Hoogstraeten (as in n. 19); see above, p. 218.
London 1984, p. 63; also further J. Bialostocki, 'Doctus 48 This feature of The
Night Watchis discussed in more
detail in Van de Wetering (as in n. 8), pp. 32-33. aveva rappresentata un' ordinanza di una di quelle
49 See above, p. 220. This peculiarity of Rembrandt's compagnie di Cittadini, si procacci6 sa gran nome, che
light was also observed by Roger de Piles: 'Quoique poco migliore l'acquist6 giammai altro artefice di quelle
Rembrant ait traite des sujets sous l'aparence de toutes parti. La cagione di ci6 fu piu che ogni altra, perch&
sortes de lumieres; il semble n6anmoins qu'il ait affect6 egli fra le figure aveva fatto vedere nel quadro un [Capi-
d'exposer ses modeles sous une lumiere haut et resser- tano, con] piede alzato in atto di marciare, e con una
r6e, ou sous une lumiere d'accident; afin que les partigiana in mano cost ben tirata in prospettiva, che
ombres 6tant plus fortes et les parties eclairees plus non essendo pia lunga in pittura di mezzo braccio,
ramassees, les objets en parussent plus vrai et plus sen- sembrava, da ogni veduta, di tutta sua lunghezza...' F.
sibles.' De Piles (as in n. 38), p. 436. Quoted by Slive (as Baldinucci, Notiziedei Professoridel Disegno da Cimnabue in
in n. 5), p. 131. qua, Florence 1847 (1st edn Florence 1681-1728), v, p.
50 This phenomenon is also discussed byJ. Bruyn in A 305. The same passage appears in Cominciamento, pro-
,
Corpus of Rembrandt Paintings (as in n. 7), iii, 1989, pp. gressodell'arte dell' intigliare in rame, colle vite di molti de'
475-76. eccellentiMaestridella stessaProfessione,Florence 1686,
51 On pif,78:
p. 224. p. quoted and discussed in S. Slive (as in n. 5), pp.
52 'Costui avendo dipinta una gran tela, alla quale fu 108-09.
dato luogo nell'alloggio de' cavalieri forestieri, in cui
53 See the discussion by Van de Wetering in A Corpusof 56 Fitzwilliam Museum, Cambridge (Broughton Col-
RembrandtPaintings (as cited in n. 7). It is interesting to lection), inv. no. PD 50-1975. Canvas, 51.4 x 40.6 cm.,
compare this practice with that of Italian artists, who signed and dated 1669. Discussed in my PhD thesis,
generally painted the figures first and the background 'The Flower Fadeth: Looking at Floral Still Lifes in
afterwards: see the discussion by Stumpel (as in n. 21). Golden Age Holland', University of Cambridge 1991,
54 Lairesse (as in n. 3), i,
p. 14. Quoted by Van de pp. 246-47, ill. 68. For a colour reproduction and a dis-
Wetering, ibid.; unfortunately he translates 'houding'as cussion by P. van de Ploeg, see B. Brenninkmeyer-de
'attitude'. See, however, Van de Wetering (as in n. 8), p. Rooij et al., Boeketten uit de Gouden Eeuw / Bouquets from
100, from which it is clear that his interpretation of this the Golden Age, exhib. cat., Mauritshuis, The Hague
Lairesse passage is now the same as the one presented 1992, no. 26.
here. 57 See Lairesse's comments on colour and spatial con-
55 Lairesse, ibid.,
p. 12. Also quoted by Van de Weter- struction (as in n. 3, ii, pp. 360-68).
ing (as in n. 7), with 'kracht'translatedas 'boldness'.
technique, which may be called 'a chiaroscuro of hue', is common in Dutch flower
painting from Roelandt Savery onwards.58 Flowers of warm colours, such as yellow
or orange, were usually placed at the front of a bouquet, and flowers of cooler
colours, such as blue or purple, were placed at the back. Verelst's chiaroscuro of
hue is an advanced and subtle one. In the front plane of flowers he has used white
and light pink roses, together with a very striking yellow-brown sprig of shrivelled
rose leaves. These stand forward from the green of the foliage and the blue morn-
ing glories in the second plane. The back plane, at the right, is taken up by a
column of rich crimson poppies in shadow, which play against the well-lit emerald
green of the foliage, and push it forward in space as much by colour contrast as by
difference in tonal balance. The result is what Gerard de Lairesse suggested the
flower painter should aim for: 'a hemisphere which gradually rounds'.59
Verelst's lighting is no less stage-managed than Rembrandt's. The artist makes
numerous 'errors' of chiaroscuro in order to increase the houding. At the bottom of
the painting, for instance, the red silk ribbon of the watch is brightly lit, whilst the
table edge behind it is in shadow. This disregards the laws of optics, but brings the
ribbon forward in space very effectively. In the centre of the painting is a strongly-lit
pink marigold; given the direction of the fall of light, this should be occluded by
the white rose in front and to the left of it, but it is not in shadow, since, presum-
ably, Verelst wanted to contrast the shaded side of the rose with a bright passage,
in the manner prescribed in the discussion of Poussin's Christ Healing the Blind at
Jericho, quoted above. Indeed, those remarks about Poussin's painting apply very
well to this one, if the words 'figures' and 'draperies' are replaced by 'flowers' and
'leaves'. Verelst has consistently ensured that light contrasts against dark and vice
versa, even if the lights come in places which ought logically to be in shadow. The
illumination of the bouquet as shown here could only have been brought about by a
complex barrage of small lights placed at various angles; it is the mark of Verelst's
subtlety, sense of restraint and grasp of schijn eyghentlijckekracht that we only notice
this fact after a close examination of the picture. It was not for nothing that Jacob
Campo Weyerman praised Verelst for his 'magnificent houding':
Simon Verelst was a Painter in a thousand, a Man who arranged his flower pieces with such
judgement, that one has to love them in their entirety, as much for the magnificent houding
and the lovely lights and shadows which he brought into them, as for the exquisitely painted
flowers.
(Simon Verelst is een Schilder geweest uyt duyzent, een Man die met zo veel oordeel zyne
bloemtafereelen schikte, dat men ze alommers zo zeer om de heerlyke houding, en om de
aardige lichten en schaduwen die hy daar op te pas bragt moet beminnen, als om de keurlyk
geschilderde bloemen.) 60
Different genres required different lighting effects, and the practitioners of the
various specialities solved their individual problems of depth creation in differing
ways. In landscape, for instance, broken cloud cover could be used to provide bands
58 These ideas are developed at length in my PhD Nederlandsche konst-schilders en konst-schilderessen, The
thesis (as in n. 56), esp. pp. 154-64. Hague 1729-1769, iii, p. 248. For a discussion of Weyer-
59 'een halve bol...die langsaamer hand rond word'. man's life of the artist, see Broos (as in n. 10), pp. 209-
Lairesse (as in n. 3), ii, p. 366. 11. Lairesse was also a great admirer of Verelst: see Groot
60o J. C. Weyerman, De levens-beschryvingen der Schilderboek(as in n. 3), ii, p. 356.
61 Mus6e du Louvre, Paris, inv. no. 709. Canvas, 149 x 'N Mae'.
200 cm. 66 Pieter de Hooch, Interior,
Rijksmuseum, Amsterdam,
62 F61ibien (as in n. 13), v, p. 406: 'Conferences de inv. no. C1191. Canvas, 72 x 77.5 cm., signed and dated
1'Academie Royale: sixieme conf6rence'. 'P D Hoogh 1663'.
63 Mauritshuis, The Hague, inv. no. 155. Canvas, 55.5 67 Johannes Vermeer, The Little Street, Rijksmuseum,
x 62 cm., signed 'JvRuisdael'. Amsterdam, inv. no. A2860. Canvas, 54.3 x 44 cm.,
64 Aert van der Neer, Windmills at
Evening, Museum signed 'Jv Meer'.
Boymans-van Beuningen, Rotterdam, inv. no. 2293. 68 Jan Steen, Laban Seekinghis Idols, Stedelijk Museum
Panel, 24.5 x 34 cm. 'De Lakenhal', Leiden, inv. no. 404. Canvas, 109.5 x
65 Nicholas Maes, The Daydreamer,Rijksmuseum, Am- 144.5 cm.
sterdam, inv. no. A245. Canvas, 123 x 96 cm., signed 69 Felibien (as in n. 13), v, 421.
p.
WARBURG INSTITUTE
70 Hoogstraeten (as in n. 3), p. 305. He cites Junius as (as in n. 29). For a brief discussion see Slive (as in n. 5),
the source for this phrase, but I have been unable to p. 96. Cf. Van Mander, Grondt... (as in n. 21), v, 42.
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