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Battle Scene - c. 1645/1646
Philips Wouwerman
Dutch, 1619 - 1668
Philips Wouwerman, an important Haarlem painter from the mid-seventeenth century, is best known for his elegant hunting scenes. In his early career, however, he specialized in boldly expressive depictions of military encounters. Wouwerman’s dynamic vision of men and horses in the midst of battle seems to have been inspired by non-Dutch pictorial sources, which he would have known primarily through prints. Chief among these was Antonio Tempesta (1555–1630), whose etchings of battle scenes featuring rearing horses and close combat were widely circulated and enormously influential during the early
seventeenth century.
The dramatic poses of men and horses recall the oeuvre of Sir Peter Paul Rubens (1577–1640), but one can also recognize the influence of the Italianate painter Pieter van Laer (1599–1642), whose sketchbook Wouwerman owned. Images of warfare had a long tradition in Netherlandish painting, from sixteenth-century representations of peasant revolts to the various combat scenes that were popular during the Thirty Years' War (1618–1648). For Wouwerman, this long-drawn-out and devastating war may have become a particularly topical subject following his short period of study in northern Germany in 1638–1639, where he may have witnessed or heard firsthand accounts of the armed conflicts in that country.
In this powerful work from about 1645/1646, the viewer is presented with a violent skirmish between Dutch and Spanish soldiers. As the fierce confrontation rages on, dead bodies lie strewn on the ground and a maimed drummer tries to flee from the mayhem. Instead of extolling the heroism of military exploits, Wouwerman bears witness to a brutal display of human violence and the suffering that results. For all of the cold realism of the subject matter, Wouwerman painted this scene with a remarkably subtle palette and close attention to detail. Every element is carefully integrated into a dynamic composition that displays his considerable artistic skill at perspective and lifelike representation of bodies in motion.
Philips Wouwerman, a prolific painter of equestrian scenes, hailed from Haarlem, where he was baptized on May 24, 1619. The eldest of three sons born to the painter Pouwels Joosten and Susanna van den Bogert, Pouwels’ fourth wife, Wouwerman probably first learned to paint from his father. According to his earliest biographer, Cornelis de Bie, he was then apprenticed to Hals, Frans.[1] Wouwerman also may have received some training in the representation of horses from the Haarlem artist Pieter Verbeeck (1610/1615–1652/1654).
In 1638 Wouwerman briefly left the Netherlands for Hamburg. According to Matthias Scheits (c. 1625/1630–c. 1700), a student of the artist, Wouwerman fled the Netherlands in order to marry a Catholic girl, Annetje Pietersz van Broeckhof, against the wishes of his Protestant family. Although no records of the wedding exist in the marriage register of Hamburg’s Catholic community, the fact that Scheits knew Wouwerman personally argues for the validity of his account. Wouwerman’s journey to Hamburg, however, involved more than just a wedding; he also spent some time working in the studio of the obscure German history painter Evert Decker (d. 1647).
By 1640 Wouwerman and his wife had returned to Haarlem, where the artist was admitted into the local Saint Luke’s Guild on August 8 of that year. In early 1642 Koert Witholt, a Swedish artist, served as his apprentice for a few short weeks. Later that same year Nicolaes Ficke and Jacob Warnars, both from Amsterdam, were also recorded as his pupils. Wouwerman was an active member in Haarlem’s artistic and civic communities. In 1646 he was elected one of the six vinders of the Saint Luke’s Guild, and between 1642 and 1655 he served as a member of the militia company of Sint Joris. He and his wife had many children, of which seven survived. Wouwerman died at the age of forty-eight on May 19, 1668. He was buried four days later in Haarlem’s Nieuwe Kerk.
Wouwerman was an extraordinarily productive artist. More than a thousand paintings bear his name, though only a small number are dated, making it difficult to establish a chronology of his work. Attribution issues also exist because a number of studio works and copies were made by his brother Pieter Wouwerman (1623–1682). Wouwerman’s oeuvre consists predominantly of small cabinet paintings of equestrian subjects, such as battle or hunting scenes, army camps, and smithies. He also painted several genre pieces as well as some mythological and religious subjects. Despite the Italianate quality of much of his work, it is extremely unlikely that he ever traveled to Italy. His style was greatly influenced by Laer, Pieter van, a fellow Haarlem artist who spent fourteen years in Italy from 1625 to 1639; according to Houbraken, after Van Laer died, Wouwerman acquired some of his sketches and studies.
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For earlier visit in 2024 see:
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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