![Cello Player (17th century) “Oil on canvas, 80.2 x 68.5 cm” [Private location] -- Judith Leyster and Studio (Dutch; 1609 - 1660) | by La Música en La Pintura - Music in Painting.](http://live.staticflickr.com/65535/52317034413_f5075e385d.jpg)
Cello Player (17th century) “Oil on canvas, 80.2 x 68.5 cm” [Private location] -- Judith Leyster and Studio (Dutch; 1609 - 1660)
The existence of a number of Leyster's copies after compositions by Frans Hals has led to the supposition that she may have worked in his studio prior to her marriage to Jan Miense Molenaer in 1636, a theory supported by her swift, painterly approach to figure painting. The present work is reminiscent of Leyster's Violinist (Virginia Museum of Fine Arts, Richmond) where we encounter a similar unwieldy perspective in the depiction of the instrument, characteristic of that artist. The pose and expressive face of the musician; the head tilted back with an upward glance; the mouth ajar are devices typically employed by Leyster and betray her hand in this work.
Source: Sotheby’s Catalogue Note
For a woman living in the seventeenth century, Judith Leyster was remarkable. She worked for several years around Utrecht and Amsterdam in the Netherlands, before returning to Haarlem where she entered the painters' guild in 1633. She also had her own studio and taught several students. In 1636 Leyster married painter Jan Miense Molenaer. Scholars believe that Leyster made few paintings after her marriage, though she may have collaborated with her husband.
Source: National Gallery of Art, Washington
www.sothebys.com/en/auctions/ecatalogue/2012/important-ol...
Cello Player (17th century) “Oil on canvas, 80.2 x 68.5 cm” [Private location] -- Judith Leyster and Studio (Dutch; 1609 - 1660)
The existence of a number of Leyster's copies after compositions by Frans Hals has led to the supposition that she may have worked in his studio prior to her marriage to Jan Miense Molenaer in 1636, a theory supported by her swift, painterly approach to figure painting. The present work is reminiscent of Leyster's Violinist (Virginia Museum of Fine Arts, Richmond) where we encounter a similar unwieldy perspective in the depiction of the instrument, characteristic of that artist. The pose and expressive face of the musician; the head tilted back with an upward glance; the mouth ajar are devices typically employed by Leyster and betray her hand in this work.
Source: Sotheby’s Catalogue Note
For a woman living in the seventeenth century, Judith Leyster was remarkable. She worked for several years around Utrecht and Amsterdam in the Netherlands, before returning to Haarlem where she entered the painters' guild in 1633. She also had her own studio and taught several students. In 1636 Leyster married painter Jan Miense Molenaer. Scholars believe that Leyster made few paintings after her marriage, though she may have collaborated with her husband.
Source: National Gallery of Art, Washington
www.sothebys.com/en/auctions/ecatalogue/2012/important-ol...