1633 (ca.), Judith Leyster, The Concert -- National Museum of Women in the Arts (Washington)
From the museum label: While most seventeenth-century Dutch women became involved in business, art, or other enterprises through their fathers, brothers, or husbands, Leyster established her career independently. She was the first woman to be admitted to Haarlem’s prestigious Guild of St. Luke, maintain a workshop with students, and actively sell art on the open market. Emblematic of her genre painting or moderne beelden (modern figures), The Concert is one of twenty-two known works by the artist, who was active from 1629 to 1635. The sitter on the left has been identified as her husband, while the central figure may be Leyster herself.
1633 (ca.), Judith Leyster, The Concert -- National Museum of Women in the Arts (Washington)
From the museum label: While most seventeenth-century Dutch women became involved in business, art, or other enterprises through their fathers, brothers, or husbands, Leyster established her career independently. She was the first woman to be admitted to Haarlem’s prestigious Guild of St. Luke, maintain a workshop with students, and actively sell art on the open market. Emblematic of her genre painting or moderne beelden (modern figures), The Concert is one of twenty-two known works by the artist, who was active from 1629 to 1635. The sitter on the left has been identified as her husband, while the central figure may be Leyster herself.