|Adriaen van Ostade (baptized as Adriaen Jansz Hendricx December 10, 1610 – buried May 2, 1685) was a Dutch Golden Age painter of genre works.|
According to Houbraken, he and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. He thought they were "Lubekkers" by birth, though this has since found to be false. He was the eldest son of Jan Hendricx Ostade, a weaver from the town of Ostade near Eindhoven. Although Adriaen and his brother Isaack were born in Haarlem, they adopted the name "van Ostade" as painters. According to the RKD, he became a pupil in 1627 of the portrait painter Frans Hals, at that time the master of Adriaen Brouwer and Jan Miense Molenaer. In 1632 he is registered in Utrecht (where, like Jacob Duck, he was probably influenced by the village scenes of Joost Cornelisz Droochsloot, which were popular in his day), but in 1634 he was back in Haarlem where he joined the Haarlem Guild of St. Luke. At twenty-six he joined a company of the civic guard at Haarlem, and at twenty-eight he married. His wife died two years later in 1640. In 1657, "as a widower", he married Anna Ingels. He again became a widower in 1666. He opened a workshop and took on pupils. His notable pupils were Cornelis Pietersz Bega, Cornelis Dusart, Jan de Groot (1650-1726), Frans de Jongh, Michiel van Musscher, Isaac van Ostade, Evert Oudendijck, and Jan Steen.
In 1662 and again in 1663 he is registered as deacon of the St. Luke guild in Haarlem. In the rampjaar (1672) he packed up his goods with the intention of fleeing to Lübeck, which is why Houbraken felt he had family there. He got as far as Amsterdam, however, when he was convinced to stay by the art collector "Konstantyn Sennepart", in whose house he stayed, and where he made a series of colored drawings, that were later bought for 1300 florins (along with some drawings by Gerrit Battem) by Jonas Witsen, where Houbraken saw them and fell in love with his portrayals of village life. Jonas Witsen (1676-1715) was the man who convinced Houbraken to move to Amsterdam from Dordrecht. He had been the city secretary, and was probably his patron. His successor, Johan van Schuylenburgh, who became city secretary in 1712, was the man to whom Houbraken dedicated the first volume of his Schouburg.
Ostade was the contemporary of David Teniers the Younger and Adriaen Brouwer. Like them, he spent his life in delineation of the homeliest subjects: tavern scenes, village fairs and country quarters. Between Teniers and Ostade the contrast lies in the different condition of the agricultural classes of Brabant and Holland and in the atmosphere and dwellings peculiar to each region. Brabant has more sun and more comfort; Teniers, in consequence, is silvery and sparkling, and the people he paints are fair specimens of their culture. Holland, in the vicinity of Haarlem, seems to have suffered much from war; the air is moist and hazy, and the people depicted by Ostade are short and ill-favoured, marked with adversity's stamp in feature and dress.
Brouwer, who painted the Dutch peasant in his frolics and passions, brought more of the spirit of Frans Hals into his depictions than did his colleague; but the type is the same as Ostade's. During the first years of his career, Ostade tended toward the same exaggeration and frolic as his comrade, though he is distinguished from his rival by a more general use of light and shade, especially a greater concentration of light on a small surface in contrast with a broad expanse of gloom. The key of his harmonies remained for a time in the scale of greys, but his treatment is dry and careful in a style which shuns no difficulties of detail. He shows us the cottages, inside and out: vine leaves cloak the poverty of the outer walls; indoors, nothing decorates the patchwork of rafters and thatch, the tumble-down chimneys and the ladder staircases, the rustic Dutch home of those days. The greatness of Ostade lies in how often he caught the poetic side of the peasant class in spite of its coarseness. He gave the magic light of a sun-gleam to their lowly sports, their quarrels, even their quieter moods of enjoyment; he clothed the wreck of the cottages with gay vegetation.
It was natural, given the tendency to effect which marked Ostade from the first, that he should have been fired by emulation to rival the masterpieces of Rembrandt. His early pictures are not so rare but that we can trace how he glided from one period to the other. Before the dispersal of the Gsell collection at Vienna in 1872, it was easy to study the steel-grey harmonies, the exaggerated caricature of his early works between 1632 and 1638. There is a picture in the Vienna Gallery of a Countryman Having his Tooth Drawn, unsigned, and painted about 1632; a "Bagpiper" of 1635 in the Liechtenstein Gallery at Vienna; cottage scenes of 1635 and 1636 in the museums of Karlsruhe, Darmstadt, and Dresden; and the Card Players of 1637 in the Liechtenstein palace at Vienna, making up for the loss of the Gsell collection. The same style marks most of those pieces.
About 1638 or 1640, the influence of Rembrandt suddenly changed his style. He painted the Annunciation of the Brunswick Museum: angels, appearing in the sky to Dutch boors half-asleep amidst their cattle, sheep and dogs in front of a cottage, recall at once the similar subject by Rembrandt, who effectively lighted the principal groups by rays propelled to earth from a murky sky. Ostade, however, did not succeed here in giving dramatic force and expression; his shepherds were without much emotion, passion or surprise. His picture was an effect of light, and masterly as such, in its sketchy rubbings of dark brown tone relieved by strongly impasted lights, but without the very qualities which made his usual subjects attractive.
In 1642 he painted the beautiful interior at the Louvre: a mother tending her cradled child, her husband sitting nearby, beside a great chimney; the darkness of a country loft dimly illumined by a sunbeam shining on the casement. One might think the painter intended to depict the Nativity; but there is nothing holy in the surroundings, nothing attractive, indeed, except the wonderful Rembrandtesque transparency, the brownish tone, and the admirable keeping of the minutest parts. Ostade was more at home in a similar effect applied to the commonplace incident of the Slaughtering of a Pig, one of the masterpieces of 1643, and once in the Gsell collection. In this and similar subjects of the previous and succeeding years, he returned to the homely themes in which his power and wonderful observation had made him a master. He does not seem to have gone back to gospel illustrations until 1667, when he produced an admirable Nativity which is only surpassed in arrangement and colour by Rembrandt's Carpenter's Family at the Louvre, or by the Woodcutter and Children in the gallery of Cassel. Almost innumerable are the more familiar themes to which he devoted his brush during this interval: from small single figures, representing smokers or drinkers, to allegories of the five senses (Hermitage and Brunswick galleries), half-lengths of fishmongers and bakers, cottage brawls, scenes of gambling, itinerant players and quacks, and ninepins players in the open air.
The humor in some of these pieces is contagious, as in the Tavern Scene of the Lacaze collection (Louvre, 1653). His art may be studied in the large series of dated pieces which adorn every European capital from Saint Petersburg to London. Buckingham Palace has a large number, and many a good specimen lies hidden in private collections in England. Should we select a few as peculiarly worthy of attention, we might point to the Rustics in a Tavern of 1662 at The Hague, the Village School of the same year at the Louvre, the Tavern Court-yard of 1670 at Cassel, the Sportsmen's Rest of 1671 at Amsterdam, and the Fiddler and his Audience of 1673 at the Hague.
At Amsterdam we have the likeness of a painter, sitting with his back to the spectator, at his easel. The colour-grinder is at work in a corner, a pupil prepares a palette, and a black dog sleeps on the ground. A replica of this picture, with the date 1666, is in the Dresden gallery. Both specimens are supposed to represent Ostade himself, but unfortunately we see the artist's back and not his face. In an etching (Bartsch, 32), the painter shows himself in profile at work on a canvas. Two of his latest dated works, the Village Street and the Skittle Players, noteworthy items in the Ashburton and Ellesmere collections, were executed in 1676 without any sign of declining powers. He died in 1685 in Haarlem.
The number of Ostade's pictures is given by Smith at 385, but by Hofstede de Groot (1910) at over 900. At his death, the stock of his unsold pieces was over 200. His engraved plates were put up to auction with the pictures. Fifty etched plates, most of them dated 1647–1648, were disposed of in 1686. there are 220 of his pictures in public and private collections, of which 104 are signed and dated, while seventeen are signed with the name but not with the date.
The prices which Ostade received are not known; but pictures which were worth £40 in 1750 were worth £1000 a century later, and Earl Dudley gave £4120 for a cottage interior in 1876.
The signatures of Ostade vary at different periods, but the first two letters are generally interlaced. Up to 1635, Ostade writes himself Ostaden, e.g. in the Bagpiper of 1635 in the Liechtenstein collection at Vienna. Later on, he uses the long s (f), and occasionally he signs in capital letters. His pupils are his own brother Isaack, Cornelis Bega, Cornelis Dusart and Richard Brakenburg.
Adriaen van Ostade (Adriaen Jansz baptisé Hendricx Décembre 10, 1610 - enterré le 2 mai 1685) était un Age d'or hollandais peintre de scènes de genre. Life Selon Houbraken, lui et son frère étaient des élèves de Frans Hals, et comme lui, passé la plupart de leur vie à Haarlem. Il pensait qu'ils étaient «Lubekkers" par la naissance, mais il a depuis...|
Adriaen van Ostade (wie Adriaen Jansz Hendricx getauft 10. Dezember 1610 - begraben 2. Mai 1685) war ein niederländischer Maler des Goldenen Zeitalters Genre funktioniert. Life Nach Houbraken, er und sein Bruder Schüler von Frans Hals und wie ihm war, verbrachte die meiste Zeit ihres Lebens in Haarlem. Er dachte, sie seien "Lubekkers" durch Geburt,...|
Adriaen van Ostade (battezzato come Adriaen Jansz Hendricx 10 dicembre 1610 - sepolto 2 maggio 1685) è stato un pittore olandese Golden Age di opere di genere. Life Secondo Houbraken, lui e suo fratello sono stati allievi di Frans Hals e come lui, ha trascorso la maggior parte della loro vita in Haarlem. Ha pensato che fossero "Lubekkers" per nasci...|
Adriaen van Ostade (batizado como Adriaen Jansz Hendricx 10 de dezembro de 1610 - enterrado 02 de maio de 1685) foi um pintor holandês Idade de Ouro de obras gênero. Vida De acordo com Houbraken, ele e seu irmão foram os alunos de Frans Hals e como ele, passou a maior parte de suas vidas em Haarlem. Ele pensou que eles eram "Lubekkers" por nascimen...|
Adriaen van Ostade (bautizado como Adriaen Jansz Hendricx 10 de diciembre 1610 - enterrado 02 de mayo 1685) fue un pintor Edad de Oro holandesa de las obras de género. La vida Según Houbraken, él y su hermano fueron los alumnos de Frans Hals y como él, pasó la mayor parte de su vida en Haarlem. Pensó que eran "Lubekkers" por nacimiento, aunque esto...|
Адриан ван Остаде (крещение, как Адриан Jansz Hendricx 10 декабря 1610 - похоронен 2 мая 1685) был голландский художник Золотой возраст жанру произведений. Жизнь По Houbraken, он и его брат были учениками Франса Хальса и как он, провел большую часть своей жизни в Харлеме. Он думал, что они "Lubekkers" по рождению, хотя это и с тех пор оказалась лож...|
Adriaen面包车Ostade（Adriaen Jansz Hendricx 1610年12月10日，受洗 - 埋，1685年5月2）是一家荷兰黄金时代画家流派的作品。 生命 据Houbraken，他和他的兄弟弗兰斯哈尔斯的学生和他一样，在哈勒姆度过了大半生。他以为他们是“Lubekkers”的诞生，虽然这自发现是假的。他是长子，从埃因霍温Ostade附近镇的织布工月Hendricx Ostade。虽然出生在哈莱姆Adriaen和他的兄弟Isaack，他们采用的名称为画家“Ostade面包车”。根据的RKD，他在1627肖像画家弗兰斯哈尔斯的瞳孔在那个时候，Adriaen布劳威尔和扬Miense Molenaer的主人。 1632年，他注册在荷兰乌得勒支，像雅各鸭，他很可能是由Joost的...|
アドリアンファンオスターデは、（アドリアンJansz Hendricx 1610年12月10日に洗礼 - 1685年5月2日埋葬）ジャンルの作品のオランダの黄金時代の画家。 ライフ フーブラケンによると、彼と彼の兄弟はフランスハルスの弟子だったと彼のように、ハーレムで自分たちの生活の大半を費やした。これは、以来、偽であることが判明しているものの、彼は、彼らが生まれ、"Lubekkers"と思っていました。彼は月Hendricxオスターデ、アイントホーフェンに近いオスターデの町からの織工の長男だった。アドリアンと彼の兄弟のIsaackがハーレムに生まれていたが、彼らは画家として名"バンオスターデ"を採用。 RKDによると、彼はその時点で、アドリアンブラウワーとJan Mienseモレナールのマ...||