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Aert de Gelder

Paintings

The Banquet of Ahasuerus Print by Aert de Gelder

The Banquet of Ahasuerus

Ahimelech Giving the Sword of Goliath to David Print by Aert de Gelder

Ahimelech Giving the Sword of Goliath to David

Hermanus Boerhave, professor of medecine at the university of Leiden, with his wife and daughter Print by Aert de Gelder

Hermanus Boerhave, professor of medecine at the university of Leiden, with his wife and daughter

Jacob's Dream Print by Aert de Gelder

Jacob's Dream

King David Print by Aert de Gelder

King David

Christ Blessing the Children Print by Aert de Gelder

Christ Blessing the Children

Christ before Caiaphas Print by Aert de Gelder

Christ before Caiaphas

Judah and Tamar Print by Aert de Gelder

Judah and Tamar

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The entrance of the temple

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The Road to Golgotha

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The Jewish Bride (Esther allows her to be decorated)

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Esther and Mordecai

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young Man

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Portrait of Ernst van Beveren

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Portrait of a man with halberd

Aert de Gelder (or Arent; October 26, 1645 – August 27, 1727) was a Dutch painter.[1]


Biography

De Gelder was born and died in Dordrecht. He was one of Rembrandt’s last pupils while in Amsterdam, studying in his studio from 1661 to 1663. He was not only one of the most talented of Rembrandt’s pupils, but also one of his most devoted followers, for he was the only Dutch artist to paint in the tradition of Rembrandt's late style into the 18th century. Following Rembrandts lead, De Gelder would paint such artworks as "The Baptism of Christ" and ".Ahimelech Giving the Sword of Goliath to David". Story telling and with transparent emotionalism, and an emphasizing the human element to biblical characters is one of the distinguishing elements of this style, as opposed to the courtly and distant emotions and imagery of other artists, even in the Renaissance period.


Style
Aert de Gelder, The Banquet of Ahasuerus

As author of biblical scenes and portraits of his style was inspired by Rembrandt's, using his artistic ideas, well into the eighteenth century, without being influenced by contemporary new fashions. From the artistic point of view his work can not be considered as passive imitation of the master, indeed it stands for inventiveness in the narrative, taste for the theatrical and a strong emotional charge of the characters. All these traits made him one of the most important interpreters of Dutch painting of the late seventeenth century.


Works

Judah and Tamar, c. 1681 (Vienna, Gemäldegalerie of the Academy of Fine Arts)
King David, c. 1683 (Amsterdam, Rijksmuseum, inv A 2695)
The Toilet of Esther, c. 1684 (Munich, Alte Pinakothek )
Portrait of Tsar Peter the Great (Amsterdam, Rijksmuseum?)
Self Portrait as Zeuxis (Frankfurt am Main, Städel, inv. no. 1015))
Passion Series (c. 1715, 22 paintings, including ten in Aschaffenburg, Schloss Johannisberg, and two in Amsterdam, Rijksmuseum)
Portrait of Hermannus Boerhaave with his wife and daughter, c. 1724 (Amsterdam, Rijksmuseum, inv A 4034)
The marriage contract, c. 1670 (Brighton Art Gallery and Museum)

See also

Chiaroscuro

References

The Getty Union Artist's Name List only mentions "Aert", but the Rijksmuseum, Amsterdam uses "Arent".

External links

Media related to Aert de Gelder at Wikimedia Commons
National Gallery, London, "Aert de Gelder"
Paintings and biography at artbible.info
Works and literature on Aert de Gelder at PubHist
Dutch and Flemish paintings from the Hermitage, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Aert de Gelder (cat. no. 9)

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