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DUTCH DRAWIN the

SEVENT CENTURY in

THE

METROP MUSEUM of

Helen

ART

Bobritzky Mules

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DIRECTOR'SNOTE

The Spring 1985 Bulletinaccompanies an exhibition (April 10June 9, 1985) in the Galleries for Drawings, Prints and Photographs that focuses attention for the first time on the Metropolitan's collection of Dutch drawingsof the seventeenth century. Our holdings in this area, including 170 works in the Department of Drawings and 52 in the Robert Lehman Collection, are rich, and they complement the Museum's great assemblage of Dutch paintings of the same period. The splendid and more comprehensive collection at the Pierpont Morgan Library brings the total number of Dutch seventeenth-century drawingsin New York to more than five hundred, making this city a major center in the United States for the study of Dutch seventeenth-centurydraughtsmanship. The collection in the Department of Drawings, formed after the turn of the century by purchase, gift, and bequest, has a particularlystrong concentration of drawingsby Rembrandtfifteen studies of biblical subjects, genre, and landscapes. Most welcome additions to the Museum's alreadyextensive representation of this greatmasterwere the important Rembrandtdrawings that came to the Metropolitan in 1975 as part of the Robert Lehman Collection. This impressivegroup includes the celebratedself-portraitand CottageNear theEntranceto a Wood, the largestlandscapedrawing by Rembrandt known. Among the generous donors who have enriched our holdings of Dutch drawingswas Mrs. H. 0. Havemeyer; in 1929 she left the Museum seven Rembrandt drawings, three of which are publishedhere. The Department of Drawings receivedtwo munificent bequests in 1971: that of Walter C. Baker included the

Van den Eeckhout study of a young man reproduced on the cover and Rembrandt's moving interpretation of Mantegna's print of the Entombment, while Harry G. Sperling's gift contained the fine landscape drawing by Rembrandt's follower, Philips Koninck. Twenty-sevenof the forty-three drawingschosen for this Bulletinwere acquiredby purchaseand rank among the Museum's finest. The selection published here comprises not only works by the great masters, but also those by many superlative but lesser-known draughtsmen whose drawings help illuminate those made by more famous and popular artists.As it happens, our earliest acquisitions of Rembrandt drawings entered the collection through purchase in the first decade of this century, and the superbpairof landscapesby Aelbert Cuyp is among the many astute purchases made by Roger Fry, who served as the Metropolitan's Curator of Paintings in 1906-7 and then acted as the Museum's agent in London until 1910. Finally,the inclusion here of work by such distinguished artists as Karel van Mander I, Hendrick Goltzius, Jacob de Gheyn II, Abraham Bloemaert, Lambert Doomer, Allaert van Everdingen, Bartholomeus Breenbergh, Cornelis van Poelenburgh, and Caspar Adriaensz. van Wittel is a measure of the quality and range of purchasesmade by the Department of Drawings since its establishment as a separatedivision in 1960, under the curatorshipof Jacob Bean. The drawings reproduced in this Bulletin were selected by Helen B. Mules, assistantcurator in the Department of Drawings, who also wrote the accompanying texts.

PHILIPPE DE MONTEBELLO

THE METROPOLITANMUSEUM OF ART BULLETIN Spring1985 VolumeXLII,Number4 (ISSN 0026-1521) Publishedquarterly? 1985by The MetropolitanMuseumof Art,FifthAvenueand82ndStreet,New York,N.Y. 10028.Second-class postagepaidat New York,N.Y. andAdditional $18.00a year.Singlecopies$4.7 5. MuseumofArt Bulletinis providedasa benefitto Museummembersandavailableby subscription. Subscriptions MailingOffices.TheMetropolitan Fourweeks'noticerequiredfor changeof address.POSTMASTER:Sendaddresschangesto MembershipDepartment,The MetropolitanMuseumof Art,FifthAvenueat 82nd Street, New York,N.Y. 10028. Backissuesavailableon microfilm,from UniversityMicrofilms,313N. FirstStreet,Ann Arbor,Michigan.VolumesI-XXVIII(1905-1942)availableas a clothboundreprintsetor asindividualyearlyvolumesfromThe AyerCompany,Publishers,Inc.,99 MainStreet,Salem,N.H. 03079, or fromthe Museum,Box 700, MiddleVillage, N.Y. 11379. GeneralManagerof Publications: JoanHolt. Editor:JoannaEkman.Colorphotographyby MalcolmVaron.Black-andJohn P.O'Neill.Editorin Chiefof the Bulletin: white photographyby MetropolitanMuseumPhotographStudio.Design:AlvinGrossman. Front cover: YoungMan in a Broad-brimmedHat, by Gerbrand Van den Eeckhout. Inside covers: Watermark representingthe arms of the city of Amsterdam. 2

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INTRODUCTION

During the course of the Eighty YearsWar (1568-1648) between the Netherlands and Spain, the Dutch provinces in the north separatedfrom the Flemish provincesin the south, beginning one of the most remarkablechaptersin western European history: the sudden emergence and brief ascendancy of the Dutch republicas a leading world power. While fighting Spain for its independence and checking the aggressivemaneuversof England and France to ensure its survival, the new republic experiencedgreateconomic growth and expansion. Dutch shipping, trade, industry, and finance produced commercial empires virtually overnight and won the upstart nation the envy and admirationof all Europe. The less happy fate of the Flemish provinces,which remained under Spanish dominion, advanced the sudden wealth of the Dutch. The fall in 1585 of Antwerp, Europe's leading port and center of trade, diverted internationalcommerce to the northern ports, particularlyAmsterdam. Dutch industries, such as the manufactureof cloth and textiles, profited from the influx of Flemish emigrants to Dutch cities in the 1580s and 1590s. The single most important contribution of these refugeesfrom the southern provinces, however, was to the development of Dutch painting and the graphicarts. No less extraordinarythan the sudden rise of the Dutch republic as a rich and powerful seafaringnation was the upsurge of artistic activity that took place in Haarlem, Amsterdam, Utrecht, and the smaller Dutch towns during the seventeenth century. Dutch painting evolved on a course of sober realism that differeddramaticallyfrom contemporary trends in nearby Flanders, France, and Italy. The leading patrons of the arts, many of them wealthy merchants, shipbuilders,and bankers, encouragedthe production of art that reflectedtheir way of life and immediate surroundings. Although religious, historical, and mythological subjectscontinued to be painted, portraiture, landscape, marine and genre scenes, and still life gained the widest appeal. An accurate interpretation of the subject was preferredto the idealization and grandeur commonly associated with the work of Flemish and Italianmasters. Drawingsplayeda more than subservientrole in this development, and their abundanceis in proportion to the greatnumber of artists then active in Holland. Apart from their use in the

preparatory stagesof the executionof a definitivework, drawwere made fromlife as a formof artisticexerciseaswell as ings to accumulatesourcematerial.In departure fromtheseconventionalfunctions,drawingswereproducedasendsin themselves and appreciatedas independentworks of art. Many Dutch painterswere more prolificas draughtsmen,and some artists were exclusivelydraughtsmen.Whetherthey workedin pen and ink, blackchalk,watercolor,or a mixtureof these, their styleis characterized by simplicityandrestraint. Althoughour holdingsdo not permita detailedsurveyof the richnessand varietyof Dutch seventeenth-century draughtsmanship,many of the importantpersonalitieswho figured prominentlyin this age are includedhere. Forty-threedrawings,reflectingthe strengthsof ourcollectionsaswellassomeof the period'sgreatestachievements, arearrangedin threemajor groups:the HaarlemMannerists,Rembrandtandhisfollowers, and the landscapists.They were selectedfrom over two hundredworkson paperin the MetropolitanMuseum'sDepartmentof Drawingsandthe RobertLehmanCollection. The HaarlemMannerists,activein the latesixteenthcentury, favoredan elegantstyle,Italianin inspiration,thatdisappeared in a few decadesasthe trendtowardpictorialrealismtook hold. HendrickGoltziusandKarelvanManderI weretwo keymembers of this circlewho playedsignificantroles in the young here republic'searlyartisticdevelopment.They arerepresented of drawings a of scenes, by genre leadingcategory specialization in seventeenth-century Hollandthatwasa directdescendantof a sixteenth-centuryNetherlandishtraditionpopularizedby HieronymusBosch and PieterBrueghelthe Elder.VanMander,a Flemishimmigrant,wasnot only Holland'sfirstarthistorianand theoretician,but also an influentialpainterof landscapesandgenrewho bridgedhis nativetraditionwith that of theDutchattheturnof thecentury.AnotherFlemishartistworking in Hollandin a similarvein was DavidVinckboons.His drawingcommemoratinga contemporaryevent is typicalin a certainexuberance thatis distinctively Flemish. style,displaying Characteristic of Dutch Mannerismis the refinedgraceand of CornelisCornelisz.vanHaarlem'smythological artificiality livelinessof AbrahamBloemaert's fantasyandthe exaggerated CbristandtheAdulteress. In the sinisterrenderingof witchesby

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Goltzius's gifted pupilJacob de Gheyn II, our attention is drawnasmuchto the expressivelinearpatternof the drawingas to the bizarrenatureof the scene. An artistwhose originalityand geniustranscendedhis own fortunatein time is Rembrandtvan Rijn. We are particularly possessinga rich and variedgroupof drawingsby this great master.Fiveof the sevenchosenfor thisselectionrepresentthe subjectsthat interestedhim most: the Bible, portraiture,and of the late163Osto genre.All of them-from a rareself-portrait a movingOldTestamentsceneto a fascinatingreinterpretation of Andrea Mantegna's engraving The Entombmentof the 1650s-are of outstandingquality.The master'sapproachto the landscapeis exemplifiedin two superbdrawings,amongthe finestin the world,datingto the 1640s. Rembrandt'spowerful influence as a teacher is clearly evident in the figurativecompositionsof Gerbrandvan den Eeckhoutand Nicolaes Maes, and in the landscapedrawing by PhilipsKoninck.Eachartistrespondedto differentaspects visionandtechnique. of Rembrandt's While Rembrandtfocusedon the innerlife of his subjects, choseto concentrateon the the majorityof his contemporaries of the worldaroundthem. One suchartist externalappearance was the popularHaarlemmasterof genre painting,Adriaen vanOstade,whose late pen-and-inkstudyfor an etching,The Cobbler,is juxtaposedwith a chalk drawingof a seatedpeasantby his devotedpupilCornelisDusart. Portraitsof successfulindividualsand officialcorporations Holland.Jacob were much in demandin seventeenth-century chalk sketchof a seated Adriaensz.Backer'sblack-and-white in for was made preparation a paintedportraitof the gentleman of a charitableinstitution.It is pairedwith officials governing a highly finishedblack-chalkdrawingon vellumby Cornelis Visscher,one of the most prolific portraitdraughtsmenof the 1650s. The riseof landscapepaintingin the seventeenthcenturywas not confinedto Holland,but nowhereelsewasthe subjectpursued with as much devotion and originality.A number of Dutchartistsspecializedin specificaspectsof theirnativeland: dunesandbeaches,countryroadsandwoods, riversandcanals. Travelingartistsmade topographicalsketchesen route, and some who went as far as Italy stayedfor a time to paintand drawthe RomanCampagna.Althoughmanyof the paintings look as if they mighthavebeen producedoutdoors,they were in factmadein the studio.Drawings,on the other hand,were often executedenpleinair. Illustratedherearefifteendomestic of the perandforeignviewsby majorlandscapedraughtsmen iod, includingJan van Goyen, Pieter Molijn, AelbertCuyp, LambertDoomer, Allaert van Everdingen,Bartholomeus Breenbergh,andCornelisvanPoelenburgh. of marineandstilllifeconcludeourselection. Representatives Willem van de Veldethe Youngerand LudolphBackhuyzen mawerethe lastgreatexponentsof Dutchseventeenth-century rine painting.Jan van Huysum, whose successfulcareerextendedwell into the eighteenthcentury,was one of the few Dutchstill-lifepainterswho was alsoa fine draughtsman. 4

HENDRICKGOLTZIUS

Muiihlbracht (Limburg)1558-Haarlem1617 Spring.

Pen andbrownink, brownwash,heightenedwith white;fainttouchesof redchalk. Tracedwith stylus for transfer. 7 5/8 x

51 1/ 6

inches(19.4x 14.5cm).Artist'smonogram in pen andbrownink at lowerright,HG. RogersFund,1961(61.25.1)

In the late sixteenthcentury,when Haarlem wasthe leadingartisticcenterin the northern Netherlands,it was the home of a smallnucleus of artistscalledthe HaarlemMannerists. Goltziuswas by farthe most giftedand influentialof thesemasters.His international reputationas the brilliantDutch printmaker anddraughtsman followedthat of Lucasvan Leyden and precededthat of Rembrandt. 5

Goltzius'stripto Italyin 1590-91 broughtan end to his Manneristphase,with which he is still most closely identified.From this time onward,Goltzius and his colleagues,Karel van ManderI (p. 9) and CornelisCornelisz. van Haarlem(p. 10), were inspiredby the classicalideal as expressedin antique and Renaissanceart. They also turned increasinglyto the studyof natureanddrewdirectly fromthe model,anticipatingthe realisttrend that developedin Hollandduringthe course of the seventeenthcentury. These two drawingsby Goltzius, representing spring and autumn, can be dated

about 1597. They were preparatorydesigns fora seriesof printsdepictingthe fourseasons that wereengravedin reverseby Jan Saenredam (below);the drawingsfor summerand winter are presumablylost. A dreamlikevision of spring,representedby elegant,amorous couples in a courtly gardensetting, is beautifully conceived in rich and subtle shadesof brownwash.Inthe moresoberrenderingof autumn,the prudenthousekeeper is shown gatheringthe harvestfor winter while an elderlyman (perhapsrepresenting winter)toaststhe new wine with a bacchanalianyouth.

Autumn. Pen andbrownink, brownwash,heightenedwith white;fainttouchesof redchalk. Tracedwith stylusfor transfer.75/8 x 51 /16 inches(19.4x 14.5 cm).Artist'smonogram in pen andbrownink on barrelat right,HG. RogersFund,1961(61.25.2) JAN SAENREDAM,Spring, engraving. The

ElishaWhittelsey TheElishaWhitCollection, telseyFund,1949 (49.97.636) JAN SAENREDAM, Autumn, engraving.The

TheElishaWhitElishaWhittelsey Collection, telseyFund,1949(49.97.638)

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ABRAHAMBLOEMAERT

KARELVANMANDERI

Gorinchem1564-Utrecht1651 ChristandtheAdulteress. wash, Pen, blackandbrownink, gray-brown overblackchalk,heightenedwith white. 131/2x 19 inches(34.3 x 48.3 cm).Signed anddatedin pen andbrownink at lower left,A. Bloemaert. fe./ 595. RogersFund, 1962(62.44)

MeulebekenearKortrijk1548-Amsterdam 1606 WealthandPoverty. A Proverb: Pen andbrownink, graywash,heightened with white, on beigepaper.101/4x 6 3/16 inches(25.7 x 17.3 cm).Inscribedin penand te brownink at lowermargin:De spaerpot / Doetmenich totscherven vroech ghemaeckt doorderventelatesparen/ De oudemanmoet in de sterven/ Die nietwasbedacht in aermoede jongbejaren.HarryG. SperlingFund,1980 (1980.121) Karelvan Mander,a Flemingby birth,was the oldestand most versatilememberof the HaarlemMannerists.This fine renderingis one of six proverbillustrations,engravedin reverseby Claes van Breen ( right). The Dutchinscriptionat the lowermargincanbe translated:"If you breakthe strongboxtoo soon, you startto savetoo late;the old man dies in poverty because he failed to think aboutsavingin his youth."

CLAESVAN BREEN, A

Proverb:Wealthand Poverty, engraving.Gift of Mr. and Mrs. DavidTunick,in memoryof A. HyattMayor, 1980 (1980.1034)

This earlyBloemaertdrawingwas executed in 1595,when the artistwas stronglyinfluencedby the Mannerists.A largeandimpressive sheet, it displaysall the characteristics associatedwith thatstyle,which spreadfrom Haarlemto Utrecht,whereBloemaertsettled around1600.Restless,elongatedfigureswith grotesque,malformedfaces and limbs twist andturnin hystericalfashionas they enacta scenefromthe New Testament(John8:1-11). Representedhere are zealous scribes and Phariseeswho bring an adulteress before Christto see if He will join in condemning the sinner. 9

JACOBDE GHEYN II

Antwerp1565-The Hague1629 Witches'Sabbath. Pen andbrownink, brownwash,on beige paper.91/4x 147/16inches(23.5 x 36.7 cm). Purchase,JosephPulitzerBequest,1962 (62.196) Three witches are busy preparinga nasty brew for their "sabbath,"while the fourth witch,seatedin profileat the right,is rubbing ointment her legs with a delirium-inducing De her feet. at the from jars Gheyn'sstudies two slightly and and old of witches, hags elaborate more and compositiondrawlarger sabbaths witches' of preservedin the ings West BerlinPrintRoom and in the AshmoleanMuseum,Oxford,suggestthatthe artist mighthavehad morethan a passinginterest in this subject.One discoversin De Gheyn's

extraordinary productivityas a draughtsman an encyclopediccuriosityaboutthe worldin all its beauty and its ugliness. De Gheyn's drawingstyle is unmistakwiry, calligraphic it is always able;manneredandidiosyncratic, compellingand intense.A pupilof Goltzius duringthe 1580s,De Gheynwashis equalas a draughtsman, printmaker,painter,and designer. CORNELISCORNELISZ.VAN HAARLEM

Haarlem1562-Haarlem1638 toSeaGods. JunoAppearing Pen andbrownink, brownwash,heightenedwith white, overtracesof blackchalk, on beige-toned paper. 123/16 x 83/4 inches

(30.9 x 22.3 cm).Artist'smonogram,in pen andbrownink, at lowercenter,CC. Inscribedin pen andbrownink at lowerleft, RogersFund,1954(54.116) B:Spranger.

Althoughthis drawingwas once attributed to the Flemish Mannerist Bartholomeus Spranger,CornelisCornelisz'sauthorshipis confirmedby his monogram,CC,visibleat the bottom of the sheet. Drawingsby this leadingHaarlemmasterare extremelyrare. In our fine example,datedaround1594, the artisthasbegunto modifyhisManneriststyle afterthe exampleset by his friendGoltzius. The elegant,elongatedfiguresin gracefulbut unnaturalposesareremnantsof the Mannerist aestheticoriginallyinspiredby the workof Spranger;the simplifiedcompositionfilled with lightand air,on the otherhand,anticipates the imminent arrivalof classicism. ThoughCornelisCornelisz.nevertraveledto Italy,the paramountinfluenceof Italianartis apparentin his historypainting.

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Mechelen1576-Amsterdam1632 Hendrikof TheTriumpbal EntryofFrederik OrangeintoTheHague. Pen andbrownink;gray,blue,andbrown wash.149/16x 19' 3/16inches(37 x 53 cm). Signedin pen andbrownink at lowerleft, RobertLehmanCollection, Vinkeboons. 1975(1975.1.818) FrederikHendrik, Prince of Orange and Count of Nassau,was Stadholderand Captain-Generalof the United Provinces between 1625and 1647. Duringtheseyears,he waged a series of successfulmilitary campaignsagainstthe Spaniardsin the southern Netherlands.His captureof the citiesWesel and 's Hertogenboschin 1629 is commemoratedin this largedrawing.The gay procession towardthe triumphalarch,temporarily erected for the pageant, is surveyedfrom aboveby deceasedmembersof the House of Nassauensconcedin the clouds.Femalepersonificationsof the two cities, followed by the two commandersof the defeated garrisons, walk with heads bowed behind the trumpet-blowing heralds entering The Hague. In the backgroundstandsthe Buitenhof,partof the residenceof the counts of Holland that today houses government offices. The internationallymindedPrince Frederik and his consortAmaliavan Solms had little in common with the middle-classburghersof the Dutch republic.They patronized the arts and embellishedtheir palaces lavishlyin an effortto maintaina courtthat would rivalthose of foreignprinces.Courtly tastetendedto favorFlemishpainters,suchas Rubens,Anthony van Dyck, andJordaens. Nevertheless,the works of Rembrandtand JanLievens,andof the Utrechtpainters,especiallyAbrahamBloemaertandhis pupilCornelis van Poelenburgh,could also be found in their collection. In 1641, their only son, William II, marriedPrincessMary Stuart, daughterof CharlesI of England.The child of this union, William III, became king of Englandasconsortof MaryStuart,daughter ofJamesII. Vinckboonswas one of manyFlemishartists who fled from their Spanish-occupied homelandand settledin Amsterdamin the 1580s and 1590s. This late drawing,which wassubsequentlyengraved,exhibitshis characteristicuse of fluid pen lines and delicate washesthat convey atmosphereand light as well asthe gaietyof the scene.

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Leiden1606-Amsterdam1669 David. NathanAdmonishing Pen andbrownink, brownwash,white gouache.

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Bequestof Mrs.H. O. Havemeyer,1929, H. O. HavemeyerCollection(29.100.934) Rembrandt's paintings and prints have reacheda wider public than his drawings, which for centuriesoccupiedthe interestof a smallcircleof collectorsand connoisseurs. A prolificdraughtsman,working predominantly in pen and brown ink, Rembrandt kept his drawingsin albumsfor privateuse. They havecome to be regardedas highlyas

his "official"productionand indeedare an equalmeasureof his genius. Rembrandtand his followers devoted a large portion of their work to biblicalsubjects.For Rembrandt,it constitutesthe largest categoryinlhisoeuvre,includingwellover six hundreddrawings,and reflectsan intensive,lifelongstudyof the Scriptures.A brilliant exampleof the mid-1650sis this scene fromthe OldTestament(IISamuel12:1-15). KingDavidis shownlisteningin penitential sorrow to Nathan's condemnation of his with Bathsheba.This adulterousrelationship sensitiverenderingdiffersfromRembrandt's earliersketchfor the samecompositionpreservedin Berlin.In the firstdrawing,Davidis

visiblydistressedby the prophet'sparableof the EweLamb.Thattalepredictedthe Lord's judgment on David for his crime against Bathsheba's husband,Uriah,whose deathhe causedso thathe couldtakeBathshebaas his own wife. In ourdrawing,the figureof David He hasundergonea physicaltransformation. is no longerrepresentedas a powerfulsovereign but instead appears weak and frail, barelyableto holdup hisheadashe confesses his sinto the Lord.A note of tendercompassion andof God's forgivenessis conveyedin the extendedhandof the agedprophet,who gentlytouchesDavid'ssleeve.

variedvisualaccountof his outwardappearance.Of evengreatersignificance, however,is Self-Portrait. Rembrandt's search for the Pen andbrownink, brownandgraywash. uncompromising essence of life that elevates these 53/4 x 43/4 inches (14.5 x 12.1 cm). spiritual RobertLehmanCollection,1975 deeply personalstudies to profoundstatementsof universalsignificance.The gloomy, (1975.1.800) penetratingstare of the artist in the MetRembrandt'sportraiture,the second major ropolitan's rare drawing of the 1630s is categoryin his oeuvre,is dominatedby his renderedwith spontaneity and power. A Oversixtypaint- monumentalandcompellingimage,it anticiextraordinary self-portraits. more than ings, twenty etchings,and about patesthe mood as well as the broadand exten drawingspreserveRembrandt'slikeness, pressivetechnique of his late self-portraits fromhis youthto old age. They areunique: on canvas. no otherartisthasleft suchan extensiveand REMBRANDTHARMENSZ.VAN RIJN

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TheEntombment, afterMantegna. Pen andbrownink,brownwash,overpreliminarylinesin redchalk,heightenedwith

white, on Japanese paper. 101/2 x 153/8

inches(26.7 x 39 cm).Bequestof WalterC. Baker,1971(1972.118.285)

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Facingbankruptcyin the mid-1650s,Rembrandtwasforcedto liquidatehis propertyat auction.The inventoryof his estatemadein 1656listsa "preciousbook of AndreaMantegna"thatcontaineddrawingsandprintsby the quattrocentomasterandundoubtedlyincluded the engravingof the Entombment from which Rembrandt made this copy; Mantegna'slargeprint(belowleft) datesto about1465-70.Rembrandt's reinterpretation of Mantegna'scompositioneliminatedthe grievingMaryMagdalenewith upraisedarms at the left (shebecomesthe womansupporting the fainting Virgin at the right), the crouchingmournerat the lower right, the flutteringdrapery,and the landscapebackground.These changesenabledhim to draw greaterattention to the intense emotional experiencesharedby the closelyinteracting figures. Transformedinto a classicalrelief of immensedramaand monumentality,the scenealsocommunicatesa deeppersonalunderstandingof humansuffering;all of these qualitiesmakethe drawinga powerfulicon. It is not known why Rembrandtchanged the inscriptionon the tomb from HUMANI

GENERIS REDEMPTORI (To the Redeemer of to ET PIO IESUDEO Mankind) INMO[R]TALI

the God). (Tothe piousandimmortalJesus ANDREAMANTEGNA, Entombment, engrav-

ing.RogersFund,1922 (22.60.3)

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ofPrisoners. Bebeading Pen andbrownink, graywash.

7V/16 x 53/16 inches (18 x 13.2 cm).

RobertLehmanCollection,1975 (1975.1.791) This controlledtangle of pen lines, embellished by cool graywash, conveysthe cold brutalityandhorrorof anexecution.Oureye rehearsesthe swift movementof the sword aboutto decapitatethe kneelingvictim,who 18

is blindfoldedand tremblingin expectation. Fromthe tip of the poisedblade,our eye follows the spiral curve in the composition down to the foreground,where the decapitatedcorpseandthe threegrotesqueheadsof the prisoner'scompanionsforeshadowhis own demise. This powerfulstudymay representthe beconspirators(Livy headingof the Tarquinian 2.4-5), an episode taken from Roman history. LuciusJuniusBrutus,one of the first two Roman consulsto take office afterthe

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fall of the Tarquinmonarchy,sentencedto deathhis own two sons for conspiringto restore the banishedroyal family to power. Apartfroman expandedversionof the scene in a BritishMuseum drawing,this subject, popular in seventeenth-centuryHolland, doesnot reappearin Rembrandt's oeuvre,alhis of the beheadingof John though etching the Baptist(dated 1640) makes use of the sametwo figures.

REMBRANDTHARMENSZ.VAN RIJN

SeatedMan Wearing a FlatCap. Pen andbrownink, brownwash,white gouache. 5 3/16 x 57/16 inches (14.8 x 13.8 cm).Bequestof Mrs. H. O. Havemeyer, 1929,H. O. HavemeyerCollection (29.100.935) Rembrandtdrewpeopleconstantly,whether they were membersof his immediatehousehold, beggarsin the street,or studiomodels. Rarelydid his drawingsserveas preliminary

studiesfor paintingsor prints,though they werepreparatory insofarasthe actof drawing from life stimulatedhis imagination.More important,drawingbecamefor Rembrandt anothervehicleof expression,and one that enabledhimto be directandspontaneous.A moment of inspirationcame to him when this glum-facedman, seated on a tasseled cushionby the entranceto a house, caught his eye. With greatauthorityandconviction the artistcapturedthe distinctiveposeanddemeanor,and conveyedthe substantialityof

the figurein space.The manwasprobablyan actor, one of the many theatrical figures Rembrandtdrewin the late 1630sthat have beenassociatedwith productionsin Amsterdam of Dutch classicaldramaand the commediadell'arte.The collector'smarkin the lower left corneris that of SirJoshuaReynolds, the eighteenth-centuryEnglishportraitist,who ownedthisdrawingat one time.

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FOLLOWEROF REMBRANDTHARMENSZ. VAN RIJN

Man Leadinga Camel. Pen andbrownink, brownwash. 81/8 x

77/16

inches (20.6 x 18.8 cm).

RogersFund,1908(08.227.36) This drawingis probablythe workof a Rembrandtpupil ratherthan that of the master himself. It has been associatedwith Rem20

brandt'snameat leastsincethe timethe sheet belongedto the EnglishportraitistSirJoshua Reynolds,whose markappearsin the lower left corner.The change in attributionwas owingto the styleof penmanshipand not to lackof quality,whichin thiscaseis veryhigh. The superbcharacterizationof the camel, moving in haughtystatelinessas the attendant suddenly notices a pack of dogs approachingfromthe left, is theworkof a gifted

draughtsman. Althoughthisexoticdesertanimalfrequentlyappearsin representations of scenesfromthe Bibleby Rembrandtand his followers,it is rarelythe principalsubjectof a drawing.Opportunitiesfor Northernartists to sketchthe camelfrom life were probably few, makingthis drawinga uniquerecordof an unusualoccasion.

VANDENEECKHOUT GERBRAND

1674 Amsterdam1621-Amsterdam David'sPromisetoBatbsheba. Pen andbrownink, brown,gray,andblack wash, black and red chalk. 73/8 x 10'

/16

inches(18.8x 27.1 cm).Gift of Robert Lehman,1941(41.187.4) When Van den Eeckhout became Rembrandt's pupil in the late 1630s, the two begana lifelongfriendship.Afterhis apprenticeship,Vanden Eeckhoutwas receptiveto otherinfluences,especiallyin hisgenrepaint-

but the religiousandhising andportraiture, toricalsubjectshe continuedto paintadhered to Rembrandt'sbaroque style of the late 1630sand early1640s,which favorednarrative themesof strongemotionalcontentand dramaticeffectsof chiaroscuro. This richlyrenderedcomposition,illustrating a scenefromthe Old Testament(Kings1: 28-32), demonstratesVan den Eeckhout's powersasone of the mostgiftedandversatile artiststo emergefromthe greatmaster'sstudio. In a plushorientalinterior,Bathshebais shownelicitinga promisefromthe agedKing

Davidto nametheirson Solomonas his successorto the throne.A paintingof the same subject,differingin a few detailsand dated Landesmu1646, is in the Niedersichsisches seum, Hannover.Some of the furnishings, arrangedin a similarcompositionalformat, appearin an earlierpainting,IsaacBlessing Jacob,1642(25.110.16),in the Metropolitan's collection.Inthisstudythe influenceof Rembrandtis reflectedas much in the unusual blendof drawingmaterialsasin the choiceof subject.

NICOLAESMAES

Dordrecht1634-Amsterdam1693 TheYoungMother. Pen andbrownink, brownwash. 5516 x 615/16 inches (13.5 x 17.7 cm).

RogersFund,1947(47.127.3) NicolaesMaeswasa pupilof Rembrandtduringthe late 1640sandearly1650s.He turned awayfromthe master'sstyleof paintingsoon afterhe left the atelierin 1653, but his drawings continuedto reflectRembrandt'sinfluence as a draughtsman.Between 1653 and 1659, beforedevotinghimselfexclusivelyto portraiture,Maes producedallegoricalgenre paintings.Seatedwomen absorbedin their household chores are recurringsubjectsin Maes'sworkduringtheseyears.Here a pensiveyoungwoman is seatedbesidean infant lying in a cradle.She is cuttingvegetablesor fruit and pauses to watch the cat feeding nearby.A more schematicportrayalof the

figure,cat,andcradle,drawnfroma different Berlin, angle, is in the Kupferstichkabinett, while a fine painting by the artist that is comparablein subject, YoungGirl Peeling Apples,is in the Metropolitan'scollection (14.40.612).Oneof the mostendearingqualities of thesedomesticscenesis the quietintimacy that prevails.It is even presentin this broadlyrenderedsketch,whichis remarkable for its completeness.

genre, portraits,and landscapes,and as the son of a goldsmith,he evenproduceddesigns for ornamentalengravingsand metalwork. Similarly,a certaindiversityof style is encountered in his draughtsmanship.This charmingstudyof a youthwith chinin hand, casuallyleaningon the backof a chair,is conceived differentlyfrom the Old Testament scene of the 1640s (p. 21). Here the white surfaceof the paperwas left untouchedto indicatethe areasof the figurebathedin light, whilethe shadowsdelineatingthe formwere registeredwith great discernment by the GERBRANDVANDEN EECKHOUT Man in a Broad-brimmed Hat. point of the brush.This drawing,as well as Young similarones of greatbeautythat were exeBrushandbrownwash.8 x 51/1 6 inches cutedaround1655,arestylisticallyatypicalof (20.4 x 14.5cm).Bequestof WalterC. Van den Eeckhoutand have been wrongly Baker,1971(1972.118.280) attributedto otherartists,includingNicolaes The Althoughbiblicalsubjectswere his primary MaesandevenJean-HonoreFragonard. interest,Van den Eeckhoutdid not devote mark in the lower left corner is that of a himselfexclusivelyto them. His work also nineteenth-century Belgian collector, includedhistoricaland mythologicalscenes, A. Mouriau.

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CORNELISDUSART

Haarlem1660-Haarlem1704 SeatedPeasant. Blackandredchalkon beigepaper. 10/2 x 711/16 inches(26.7 x 19.5 cm). Inscribedin pen andbrownink at lower Gift of HaroldK. Hochsleft,Sacbteleven. child,1940(40.91.13) Dusartwasa devotedpupilof the popularand prolificgenre painterAdriaenvan Ostade. His earlyworkis so closein styleandsubject to thatof hismasterthatit is sometimesdifficultto distinguishthe workof one fromthat of the other. Like Van Ostade,he lived his entirecareerin Haarlemand specializedin scenesof peasantlife. His chalkdrawingsof

singlefiguresplayinga musicalinstrument, reading,smoking,sleeping,or just relaxing are among his finest, and they were often madeto be soldas independentworksof art.

ADRIAENVANOSTADE

Haarlem1610-Haarlem1685 TheCobbler. Pen andbrownink, graywash,some red chalk,overgraphite.Incisedfor transfer. 63/4x 53/4 inches(17.1x 14.6 cm).Bequest of EdwardC. Post, 1915(30.58.23) When the greatFransHalswas paintingporclientelein his native traitsof a distinguished Haarlem, his fellow residentVan Ostade,

who mayhavebeenHals'spupilat one time, immortalized the peasantryandthe low bourgeoisiein scenesof everydayactivity.VanOstade's cheerful genre paintingsbecame so popularthat, to meet demand,he also sold carefullyfinished drawingsas independent works.By the end of his long career,he had producedover eight hundredpaintings,numerousdrawings,and some fifty etchings. The Museum's study corresponds in reverse-almost exactly,in size and detail-to one of the artist'slast etchings,dated 1671 (belowright).UnlikeRembrandt,who drew directlyon the copperplate,inventingas he went along,VanOstadecarefullytransferred the entirecompositionfromthis preparatory sketchto the plateforthe subsequentetching.

ADRIAENVANOSTADE,The Cobbler, etching.

DeWitt,1923 (23.65.27) Giftof Theodore

CORNELISVISSCHER

Haarlem1629-Amsterdam1658 Portraitofa Lady. Blackchalk,tracesof redchalk,on vellum. 14/6 x 10l/16 inches (35.7 x 25.6 cm).

Signedin blackchalkin upperrightcorner, C de Visscber/Fecit. RogersFund,1970 (1970.16) This dignifiedyoung woman of the regent classis dressedin the prescribed fashionof the 1650s. The millstoneruff, in vogue during the firsthalfof the century,hasbeenreplaced by a starchedcollardrawnaroundthe shoulders.The coiffureis pulledbackinto a black capof silkor velvetthat comesto a pointon the forehead.It is combinedwith a diadem capthat is heldin placeby a metalclipcurving aroundthe headandendingat the cheeks

and from which ornamentsresemblingearrings are suspended. Our elegant sitter wasone of manyprosperous citizensof Haarlem and Amsterdamto pose for Cornelis Visscher.A short-livedartistwhose career spannedbarelyten years,he is known primarilyfor his printsandfor his finishedportraitdrawingson vellum,of which this is a classicexample.

JACOBADRIAENSZ.BACKER

Harlingen1608-Amsterdam1651 Portraitofa Man. Blackchalk,heightenedwith white, touches of redchalk,on green-gray paper.93/8 x 83/8 inches(23.7 x 21.3 cm).Inscribedin graphite at lowerright,Bakker.RogersFund,1947 (47.127.5)

At firststronglyinfluencedby Rembrandtin his portraitsand paintingsof religiousand profanesubjects,Backerlater followedthe tastefor refinedelegancein portraiturethat was popularizedin the 1640s by BartholomeusvanderHelst.Thislatedrawingis typical in technique and style, and is one of severalstudiesmade for Backer'slast great work,the groupportrait(1651;Amsterdams HistorischMuseum) of the regentsof the NieuwezijdsHuiszittenhuis,a municipalorganization that provided food, fuel, and dothes to the needywho livedin theirown homes.

ABRAHAMBLOEMAERT

Studiesof PollardWillows. Pen andbrownink, watercolor,overtraces of blackchalk.81/4x 123/16inches(21x 31 cm).Faintlysignedwith monogram,in pen andbrownink, at lowercenter,ABfe.; and inscribedin anotherhand,in pen andbrown ink, at lowerright,Bloemaert. RogersFund, 1970(1970.242.3) The landscapewas a subjectthat attracted majortalents in seventeenth-centuryHolland. Artistsof genius and originality-like Rembrandt,Jan van Goyen, and Aelbert Cuyp, to name a few who are represented here-brought pictorialrealismin landscape to its highpoint.This developmentin Dutch owes its oripaintingand draughtsmanship Flemishmasgins to mid-sixteenth-century ters:the most notablewas PieterBruegelthe werewidelydissemiElder,whoselandscapes natedthroughprints;Gillis van Coninxloo andDavidVinckboonsemigratedto Amsterdam in the 1590s and establishedlandscape paintingin Holland at the turn of the century.The lushandromanticwoodlandscenes of thelasttwo artistswouldhavebeenknown to the young AbrahamBloemaertwhen he was livingin Amsterdambetween 1591and 1600. Bloemaert'slandscapes,often containing religious, mythological, or pastoral scenes,reflecta strongindebtednessnot only to his Flemishforerunners,but alsoto HendrickGoltziusandJacob de Gheyn II, who both made importantcontributionsin this field. Eventhoughhis long careercoincided with those of the innovativerealistpainters, Bloemaert'sstyle remainedessentiallyMannerist and ornamental, prefiguring the Rococo;indeed,one of France'sleadingdecoratorsof the eighteenthcentury,Fran9ois Boucher,was directlyinspiredby him. On this sheet, Bloemaertmade two separatestudiesof pollardwillows,focusingattention on differentaspectsof his subject.The left-handdrawingconveysthe movementinherent in the spindly branches of fresh growth,whereasthe right-handstudy, dramaticallysilhouettingthe treetrunk,emphasizesvolumeandcolor.

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A Cottage AmongTrees. Pen andbrownink, brownwash,on tan paper.63/4 x 10 3/16 inches(17.1x 27.5 cm). Bequestof Mrs.H. 0. Havemeyer,1929, H. 0. HavemeyerCollection(29.100.939) When Rembrandtturnedto the landscapeas a subjectin the 1640s,he approachedit with the same originalityand probingintensity that characterize his portraiture and his scenesfromthe Bible.With a fine quillpen, he transformed thissolitarycottage,partially hiddenby trees, into an image of pictorial richnessand monumentalgrandeur.Alternatingbetweenbroadpenstrokesandtightly renderedones, he capturedthe movementin the trees as the wind blew acrossthe lowlands.The spectatoris drawnto the firmly rooted dwellingrecedinginto the space of the composition;cast in shadow, it seems shrouded in mystery. This extraordinary drawingbelongsto a seriesof landscapestudies that Rembrandtexecutedaround165051(thehighpointof his classicalperiod),and it is somewhat indebted, in its technique and poetic mood, to the sixteenth-century Venetianmasters,whose landscapeprintshe collected.

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doorway, watching the artist sketch his house. This is the largestlandscapedrawing toa Wood. NeartheEntrance Cottage by Rembrandtthat is known,and it has the Pen andbrownink, brownwash.113/4x addeddistinctionof being one of very few 173/4 inches(29.8 x 45.2 cm).Signedand sheetshe eversignedanddated. datedin pen andbrownink, in lowerleft LambertDoomer (pp. 42-43) madetwo Lehman 1644. Robert corner,Rembrandtf Collection,1975(1975.1.792) copiesof this drawing;both arepreservedin Paris(CabinetdesDessins,Louvre;FritsLugt Verydifferentin characterfromthe previous Collection, Fondation Custodia, Institut Neerlandais).The copies date to eitherthe drawingis this bold and animatedstudyof a few yearsbefore.The vigorousbrushstrokes 1640s,when Doomermayhavebeena pupil of Rembrandt, or the late 1650s, when and pen lines unite cottage,trees,and foreinDoomer had acquireda large number of groundintoone organicmass.Rembrandt Rembrandtdrawings. cludesthe resident,who standsquietlyin the

REMBRANDTHARMENSZ.VANRIJN

PHILIPSKONINCK

Amsterdam 1619-Amsterdam 1688

RiverLandscape witba Man Standingby a Boatbouse. Brown, reddish brown, and gray wash, pen and brown ink. 61/16 x 81 3/16 inches (15.4 x

22.4 cm). Bequest of Harry G. Sperling, 1971 (1975.131.152) This beautiful drawing, traditionally attributed to Rembrandt, had passed through the 34

...,

handsof manya discerningcollectorbeforeit fusion of color point to his later years, the was finallyrecognizedsome thirtyyearsago 1660s or 1670s. A nearly identical version of as the workof PhilipsKoninck,a followerof the composition is preserved in the Teylers Rembrandt.A quickglanceat the previously Museum, Haarlem. Koninck is best known illustrateddrawingof 1644 by the greatmas- and appreciated for his broad and magnifiter (p.33) confirmsthe strong influencehe cent panoramas of flat countryside viewed hadon the youngerartist'stechniqueduring from a high vantage point. He was also sucthe 1640s.Althoughthe richbrownharmo- cessful as a portraitistand as a painterof genre nies and high horizon in this renderingare subjects. of Koninck'searlylandscapes, characteristic the freehandlingof the brushandthe subtle

JAN LIEVENS

Leiden1607-Amsterdam1674 withMilkmaid. RuralLandscape Pen andbrownink on Japanesepaper. 81 '/16 x 141/16inches (22.1 x 35.7 cm).

RogersFund,1961(61.137) A preliminarysketchfor this finishedlandscape drawingis preservedat the Dresden PrintRoom in EastGermany.Lievensapparently madenumerouslandscapedrawingsin

the studio, incorporatingmotifs from his studiesfrom nature.Few paintingsof landscapesby Lievensareknown,whereassome threehundredof his drawingsaredevotedto the subject.He was especiallyfond of dense woodlandscenes,whichhe renderedwithout any initialguidelines;he often drewon Japanesepaper,usuallywith a reedpen andoccasionallywith a quill. Lievens is perhaps best rememberedas Rembrandt's friend and collaborator in

Leidenduring1625-31, when they shareda studio. Their close associationended with Rembrandt's departure for Amsterdam. Lievensin turn went to Englandfor three yearsandthento Antwerp,wherehe metthe greatFlemishportraitistAnthonyvanDyck. Flemish influence is strongly evident in Lievens'sreligioussubjectsandportraitsfrom thistime onward.By 1644, he had settledin Amsterdam,but it is not known if Lievens andRembrandtrenewedcontactthere. 35

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Leiden1596-The Hague1656 RiverLandscape. Blackchalk,grayandbrownwash. 613/16

x 107/8 inches (17.3 x 27.6 cm).

Signedwith artist'smonogramanddatedon boatat lowerrightin blackchalk, VG1651.Gift of WilliamGretor,1907 (07.285.3) Thisanimatedscenealonga riverbankis representativeof a recurringtheme in the work 36

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of Jan van Goyen, one of Holland'sleading A picturedealeranda speculator landscapists. in tulipsandrealestate,VanGoyenled a peripatetic existence but maintainedhis headquarters in The Hague, where he was a memberof the painters'guild.In 1617,when he went to Haarlemto studywith Esaiasvan de Velde,he met PieterMolijn(p. 37), who was stronglyinfluencedby the samemaster. All three artistswere majorcontributorsto Dutch landscapepaintingas it evolvedaway from traditionalconventionsestablishedin

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the Netherlandsduringthe sixteenthcentury. Multiplicityof decorativedetail and color graduallygavewayto spatialunityanda limited palette. Some fifteenhundredpaintingsand more thaneighteenhundreddrawingssurvivefrom the prolifichandof JanvanGoyen.This fine drawingbelongsto a largegroupof sketches madein the early1650s,whenthe artistdrew morethanhe painted.

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London 1595-Haarlem 1661 Landscape. Black chalk, gray-brownwash. 71/4 x 113/4 inches (18.5 x 29.8 cm). Signed and dated in black chalk at upper right, PMolyn/1659. Rogers Fund, 1973 (1973.68) For a brief time in the 1620s, Pieter Molijn was in the forefront of the realist movement in Dutch landscape painting. He was one of the first to employ diagonal recession in his

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compositions,a schemethatbecamepopular in the 1630sand enabledartiststo achievea more monumentaland unified scene. The Metropolitanis fortunatein possessingan importantpaintingfrom Molijn'searlyperwitha Cottage,1629(95.7).By iod, Landscape the mid 1630s,however,he was superseded by his contemporaryJan van Goyen, who emergedas the greatinnovatorof the tonal landscape.Molijn becamemore activeas a and his numerousblack-chalk draughtsman, drawings,usuallysignedanddated,werecon-

ceived as independent works of art. This late drawing of 1659, depicting an undulating, windswept landscape of dunes and farmsteads receding into the distance, is typical of the artist'sstyle and technique, which are not unlike those of Van Goyen. The woods and sand dunes surrounding Haarlem and the beaches stretchingout to the sea nearby never lost their hold on the imagination of this longtime resident, who returned again and again to these motifs in his work. 37

AELBERTCUYP

Dordrecht1620-Dordrecht1691 witbTrees. Landscape Watercolorandgouache,blackchalk. 73/8 x 121/16inches(18.6x 30.7 cm). RogersFund,1907(07.282.14) Cuyp was probably in his early twenties when he madethisfinedrawingof the Dutch countryside. Our sheet and a companion study in the BrowerCollection at Central College, Pella, Iowa, belong to a group of drawingsexecutedin andaroundUtrecht,his mother'shometown.The artistwould have visitedthat city on a numberof occasions, because it is also where his father,Jacob Gerritz. Cuyp, had been apprenticed to AbrahamBloemaert. While the study in Iowa,which is closeto oursin subject,technique, and size, is relatedto a paintingin Vienna,our drawingis an independentwork of exceptionalquality.Stylistically,it pays homage to Bloemaert(pp. 28-29), in the flickering,brokenlines that renderthe gate andtreesandthe stippledapplicationof wash in the foliageandlushundergrowth.

AELBERTCUYP

witha ChurchTower. Landscape Watercolorandgouache,blackchalk, pencil. 77/16 x 12l/ inches (18.9 x 30.8 cm).

RogersFund, 1907(07.282.13) This aerialview with a churchtowerappears of a smallpanelpaintedby in the background Cuyp about 1640, now in a Londonprivate collection. To the enlarged composition (roughlytwice the size of the drawing)the

artistaddeda tree and two shepherdswith sheep, situating them in the raised foregroundfromwhichthey overlookthe distant prospect. Cuyp's landscape studies were acmadeon the spot andaretopographically curate;this may be BeverwijknearWijk an Zee,locatednorthwestof Amsterdam. The foreground, renderedin soft black chalk,is effectivelyset apartfromthe receding landscape, indicated lightly in pencil. Washesof mustardyellow unify the softly

undulatinggroundand trees, reflectingthe influenceofJanvanGoyen'stonallandscapes duringCuyp'searlyyears.LaterCuypincorporatedthe golden light and sense of grandeurfound in the exampleof Jan Both, the Dutch painterof Italianateviews. Together with Jacob van Ruisdael, Cuyp became a dominant figure in the classical phase of Dutch landscapepaintingduringthe second halfof the seventeenthcentury.

GERBRANDVANDEN EECKHOUT

witbRuins. Landscape Pen andbrownink, brownandgraywash, overblackchalk.71 3/16 x 9 inches(19.8x 22.9 cm).Datedby the artistin blackchalk at lowerleft, 1650;inscribedby a laterhand in penandbrownink,BuytenBrussels. RogersFund,1965(65.104)

The identity of the region depictedin this landscapedrawingis not as certain as the annotation,meaning"nearBrussels"might suggest.In dateandtechnique,it belongsto a groupof studiesVanden Eeckhoutexecuted in the regionsof BrabantandKlevesbetween 1650and 1654.The mountainsshownhere, of those geohowever,are uncharacteristic nevertraveled artist areas: the graphic though

veryfar south, the brilliantsunlight,casting the ruinin shadow,andthe donkeyandwayfarersseen in the distanceconvey a certain Italianateair.The artistwas fascinatedwith effects of light and dark, which he transformedinto a surfacepatternsimulatingthe movementof shadowsacrossthe terrain.

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LAMBERTDOOMER

Amsterdam1624-Amsterdam1700 ViewofNantes. Pen andbrownink,grayandbrownwash, overblackchalk.91/4x 141/2inches(2 3.5 x 36.8 cm).RogersFund,1965(65.48) Many Dutch artiststraveledabroad,filling theirnotebookswith sketchesof landscapes, naturestudies,andtopographical drawingsof townsseenalongthe way.LambertDoomer, a landscapedraughtsman,was a frequent travelerin Holland, France,Germany,and Switzerland.This dramaticview of Nantes datesto hisfirstjourneyto Francein 1646.It is one of many drawingshe made in and aroundthe city while visitinghis two brothers,a merchantanda broker,who hadsettled there. The town is situated on the right (north) bank of the Loire, where the river widens beforeflowing into the Atlantic.A hermitageon the oppositebankaffordedthe artista magnificentpanoramathat inspired this beautiful drawing. The unfinished Gothic cathedralof Saint-Pierre(completed only in the nineteenthcentury),seen rising abovethe tip of a smallislandin the river,is the most prominent edifice in this view. South of the church,alongthe quai, stands the chateauwhere in 1598 Henri IV signed the famousEdict of Nantes, grantingfreedom of worshipandcivillibertiesto the Huguenots,to end the Frenchwarsof religion. Doomer'slandscapeis verydifferentin characterfromthe topographical drawingsof his traveling companion, Willem Schellinks (p. 44), who joinedhim at Nantesandkepta traveljournalof theirtourtogetheralongthe LoireValleyandthe Seine.

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WILLEMSCHELLINKS

Amsterdam c. 162 7-Amsterdam 1678

ViewofSaumuron theLoire. Pen and brown ink, brown wash, over graphite. 11s/8 x 17 3/16 inches (29.5 x 45.2 cm). Inscribedin pen and brown ink at

metbet upperright:d StadSaumeurs

Casteel.Rogers Fund, 1969 (69.122.2) Better known as a draughtsman than as a painter, Schellinks was also a poet. He made 44

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two journeysabroad:the first,to Francewith LambertDoomer, in 1646, when he was barelytwenty;and a second,moreextensive Gertour to Franceand the Mediterranean, many, Switzerland,and England,in 166364. On both occasions, Schellinksvisited Saumur,a city on the left (south)bankof the Loire,halfwaybetweenToursandAngers.In his day, it was still an importantHuguenot stronghold,but LouisXIV'sexpulsionof the Protestantsfrom Francein 1685 led to its

rapiddeclineshortlythereafter.One of the finestchateauxof the LoireValleystandshigh above Saumur to the east, where it commandsa beautifulview of the town below. This castleis partiallyvisiblein the centerof Schellinks'sdrawing,andthe town is shown in a charmingdetailatthe lowerright.Picturesque cave-dwellingpeasantsanimate the foregroundof the scene.

ALLAERTVANEVERDINGEN

1675 Alkmaar1621-Amsterdam Scandinavian Landscape. Watercolor. 55/8 x 75/8 inches (14.3 x 19.4

cm).Inscribedin pen andbrownink at lowerright,Everdinge. RogersFund,1966 (66.134.2) The mountainousscenery of Scandinavia was introducedto Dutch art through the workof Everdingen, who traveledto Norway

andSwedenin the early1640s.As a resultof this journey,the artistdepictedrocky outcroppings,waterfalls,forests, and wooden huts in his numerouspaintings,drawings, andprintslong afterhe returnedto Holland in 1645. His paintingswereextremelypopular,fetchinghigh pricesduringhis own lifetime and well into the eighteenthcentury. The impactof his compositionscan be felt in the work of many artists, from undistinguishedimitatorsto Jacob van Ruisdael,

PieterMolijn,and NicolaesBerchem.Everdingen'sdrawings-manyof them luminous watercolors, like this fine example-were conceivedas independentworksof art.Their freshnessand immediacymakeit difficultto determinewhetherthe rarelydateddrawings weredone on the spot or frommemory.His delicatebrushworkwould have influenced the marinepainterand draughtsman Ludolf who was 54), Backhuyzen(p. Everdingen's pupilduringthe 1650s. 45

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Pen andbrownink, brownwash,overslight tracesof graphite.1215/16 X 171/ 6 inches (32.9 x 43.4 cm).RogersFund,1963(63.2)

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Italyhad attractedartistsfrom northernEuropefromthetimeAlbrechtDiurerjourneyed to Venicein 1495.The magnificentruinsof classicalantiquityand the achievementsof werethe initiallureto the ItalianRenaissance seventeenth the ^^lRome. By century,however, ^y a numberof Dutch artistswho traveledto Italywere equallyimpressedby the Roman Campagnabathedin brightMediterranean andCornelis Breenbergh light.Bartholomeus vanPoelenburghwerethe two leadingrepresentativesof the firstgenerationof DutchItallandscapepainters.Theywerealsokey l~~~~~~~~~~ianate foundingmembersof the informalclub of Dutch and Flemish artistsliving in Rome De Bentvueghels,meaning"birdsof a

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used to convey the brillianceof the sun is characteristicof Breenbergh'sdrawingsof period.The greatlandscapepainterand Claude Lorrainwas a young living in Rome at this time. He may ~~~~~~artist ~~~~~~~ knownBreenberghpersonallyand was certainlyinfluencedby hiswork.

CORNELISVAN POELENBURGH

Utrechtc. 1586-Utrecht1667 Landscape. Brushandgraywash,overgraphite. 93/16 X 127/16inches(2 3.3 x 31.6cm). Rogers Fund, 1965 (65.131.5)

Poelenburghhad been a pupil of Abraham Bloemaertin Utrecht before he arrivedin Rome in 1617.In Italy he paintedarcadian landscapes,inhabitedby nymphsand satyrs or peasantsand cattle, that were popular among the aristocracy;a greatmany of his paintingsproducedduringthisperiodarepreservedin the PalazzoPitti,Florence.The re-

finedeleganceandevenhandlingof the wash in thistimeless,imaginarylandscaperesemble the smoothfinishof his oil paintings.A dark ruinor outcroppingin the foregroundagainst a backdrop of soft, rolling hills evokes a romanticmood that is not uncommon in Poelenburgh'sItalianatecompositions.After whilehe focusinghis attentionon landscapes was in Italy,Poelenburghturnedto narrative subjectsdominatedby figuresonce he resettled in Holland.In lateryears,his clientsincludedCharlesI of Englandand Stadholder FrederikHendrik,who owned twelveof his paintings.

BARTHOLOMEUSBREENBERGH

RuinedArchbes oftheColosseum. Brushandbrownwash,overtracesof graphite. 109/16 x 71'/16 inches(26.8 x 19.5 cm). RogersFund,1961(61.2.4) The ruinsof the Colosseumwere a popular subjectfor the DutchItalianatemasters.Undoubtedly, the picturesquenature of the abandoned monument is what inspired Breenberghto put brushto paper.The effective use of washin this beautifuldrawingadmirablysuggeststhe lush textureof organic growthcoveringthe ancientstones.

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PIETERMONINCX

The Haguec. 1606-The Hague(?)1686 andthePorta Pyramidof Cestius SanPaolo,Rome. Brownwashoverblackchalk.7 x 11/4 inches(17.7x 28.6 cm).HarryG. Sperling Fund,1977(1977.166) This signed drawingand a similar one in Dresdenare among the few by this minor 50

Dutch masterthat have survived.Little is known about the life and work of Pieter Monincx,who seemsto haveresidedprincipally in The Hague. Our charmingsketch dates from his Italiansojourn, 1625-39. It depictsthe Pyramidof Cestius,which probablywaserectedbefore12B.C.by Agrippaas a tomb for his friendCaiusCestiusand still stands today in the southern outskirts of Rome.SometimebetweenA.D. 272 and279,

the pyramid was incorporated into the AurelianWalls,which were twelve-mile-long erectedto fortifythe city againstthe barbaric invasion.The Porta San Paolo, in the left foregroundof the drawing,is one of the fourteen gates along the perimeter;formerly calledthe PortaOstiensis,it openedonto the highwayleadingto the ancientport.

PIETERVAN LAER

Haarlem1592/95-Haarlem1642 Donkey. Blackchalkandgraywash.6 3/6 x 7s/8 inches(15.7x 19.4cm).RogersFund,1969 (69.201) PieterVanLaerarrivedin Rome in 1625 as an accomplished painter from Haarlem. Throughhisassociationwith the community

of Dutch artistsDe Bentvueghels,which he helped to organize, he acquiredthe name Bamboccio,meaning"chubbylittle fellow," perhapsgivento him becauseof his slightly deformedbody.Duringthe courseof nearly fifteenyearsin Rome,VanLaerspecializedin low-lifegenrescenes.His sympatheticrepresentationsof peasantsand their livestock, commonstreetmusicians,and beggarswon VanLaera devotedclientele.

Van Laer'swork inspireda considerable following,andthe artistsadoptinghis subject and style became known as the Bamboccianti.Becauseof VanLaer'sextensiveinfluence on other artists,many drawingshave been mistakenlyattributedto him. If this charmingstudy of a donkey is not by Van Laer,it certainlyreflectshis influence.

ponent. His realisticvedute(views)inspired the eighteenth-centuryview paintersLuca FrancescoGuardi,andCanaletto. Carlevaris, It was not uncommon for Van Wittel, a highly successfulartist, to produce several paintings of the same view from a single drawing.This large and magnificentstudy, squaredfor transfer,was used for two paintings,one of whichis dated1703.

GASPARADRIAENSZ.VANWITTEL

Amersfoort1653-Rome 1736 TheArchofSeptimusSeverusin theRoman Forum,withtheColumnofPbocasat theLeft andtheTemple ofSaturnat theRight. Pen andbrownink, graywash;squaredfor transferin pen andbrownink. 15s/8 x 201/4 inches(39.7 x 51.4cm). RogersFund,1971 (1971.157) AlthoughVanWittel residedin Rome from 1674 until his deathand adoptedan Italian name, Gaspare Vanvitelli, he remained, nonetheless,a Dutch artistworking in the Dutch idiom of renderingtowns and countrysidein a realisticmanner.A productof the circleof Northernpaintersthat had firstestablisheditselfin Rome at the beginningof the century,VanWittel was its last greatex-

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JAN DE BISSCHOP

Amsterdam1628-The Hague 1671 DoublePortrait,afterRaphael. Brushandbrownwash,overtracesof black chalk.101/2x 81/4inches(26.7 x 21 cm). RogersFund,1967 (67.147.2) Jan de Bisschop,a lawyerwho took up resi-

dence at The Hague, was one of the most giftedamateurdraughtsmenof his day.His brushtechniqueandinterestin classicalantiqin Amsterdam uity suggestan apprenticeship with BartholomeusBreenbergh,who had settledthereuponhis returnfromRome. De Bisschop'svisit to Italy in the mid-16SOsis documentedby manydrawings,but it is not knownthat he evertraveledto Paris,where he mighthaveseen the paintingby Raphael copied in this drawing.In the seventeenth century, the picture, traditionally called Raphaeland His FencingMaster,was in the Frenchroyalcollection,and it is now in the Musee du Louvre.AlthoughDe Bisschop's copiesafterpaintingsby old and contemporarymasterswereoften madefromoriginals, thisdrawingwas probablyexecutedfromanotherartist'scopy.

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Emden 1631-Amsterdam 1708

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is gatheringit in. The subtle gray washes appliedwith greatdelicacyconveythe misty atmosphereof the sea on an overcastday.

Pen and brown ink, gray wash, over traces of graphite. 101

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x 75/16 inches (27.1 x 18.5

cm). Signed with initials in brush and gray wash at lower right, LB. Rogers Fund, 1960 (60.79) Backhuyzen was one of the last great marine painters of the Netherlands. This fine study of a three-masted merchantman is typical of the artist's numerous drawings of ships that were very popularamong the collectors of his day. With fluid and precise pen lines, Backhuyzen has shown the vessel running before the wind and shortening sail. Its maintopsail has been lowered and is fluttering in the breeze with one clew still attachedas the crew

WILLEMVANDE VELDETHE YOUNGER

Leiden 1633-London 1707 TheFrenchVesselLe Courtisan. Pen and brown ink, graywash, over black chalk. 127/8 x 161/8 inches (31.5 x 41 cm). Signed and dated at lower right, W v Velde de]/fecit 1667. Inscribedby the artist in pen and brown ink at upper left, bij deRaffe gemaeckt(built by de Raffe) and at lower left, d kortisaen;in black ink at upper right, d kortisan1667. Bequest of Harry G. Sperling, 1971 (1975.131.166) This ship was one of six vessels built in Holland for the French government during the

second Anglo-Dutch war (1665-67), when the French and Dutch were allied againstthe English. Le Courtisan was built in 1666 to carry sixty-four to seventy-two guns; renamed Le Magnifique in 1671, it remained in service for another ten years. Carefully finished drawingssuch as this one were kept in the studio portfolio for use by both Willem van de Velde the Elder and the Younger.Father and son worked as a team, specializingin paintings and drawings of maritime events and individual ships for clients in Holland, France, and England. They eventually emigrated in 1672 to England,where they found favor at the court of Charles II. The son, the more gifted of the two and the foremost Dutch marine painter of the seventeenth century, was especially admiredby England's greatest painter of the sea,J. M. W. Turner. 55

JAN VAN HUYSUM

Amsterdam 1682-Amsterdam 1749

A BasketofFruit. Pen and black ink, gray wash, over graphite. 715/16 x 6 V/16 inches (20.2 x 15.7 cm). Signed in pen and black ink at lower center, Jan van Huysum/fecit. Rogers Fund, 1949

(49.65) 56

Jan van Huysum's successful career as a the culminationof a flowerpainterrepresents Dutch traditionthat evolvedand flourished duringthe seventeenthcentury.His flamboyant floralcompositionscombineddecorative skillwith botanicalaccuracyandweremuch soughtafterin his day. It is said that Van Huysum often made compositionalsketchesduringwinter eve-

nings, when the light was no longer suitable for painting. His best-known flower drawings are large and boldly executed in black chalk and watercolor. However, Van Huysum's flair for the art of arranginga still life is summarized in this little monochrome study composed of grapesand vines, pomegranates, and squash from a late summer harvest.

THE OF

MUSEUM METROPOLITAN BULLETIN INDEX ART Summer 1984 to Spring 1985 New Series, Volume XLII

A Anthony van Dyck. Walter A. Liedtke, 4-48

B Bothmer, Dietrich von. A Greek and Roman Treasury, 5-72

C Cunningham, Imogen, Leaf Pattern(photograph). Georgia O'Keeffe, 21

D Dove, Arthur, works on paper. Georgia O'Keeffe SentimentalMusic, 5, 7 Thunderstorm,14 Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art. Helen Bobritzky Mules, 3-56 Dutch seventeenth-century drawings. Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art Backer,Jacob Adriaensz, Portraitof a Man, 27 Backhuyzen,Ludolf, Ship at Sea, 54-55 Bloemaert, Abraham: Christand the Adulteress,3, 9; Studiesof PollardWillows, 28 Breen, Claes van, A Proverb:Wealth and Poverty (engraving), 9 Breenbergh,Bartholomeus: RuinedArchesof the Colosseum,48-49; View of an Italian Town, Probably Tivoli, 46-47 Cuyp, Aelbert: Landscapewith a ChurchTower,40; Landscapewith Trees,38-39 De Bisschop, Jan, Double Portrait,after Raphael, 52-53 De Gheyn, Jacob, II, Witches'Sabbath,3, 10 Doomer, Lambert, View of Nantes, 43 Dusart, Cornelis, SeatedPeasant,24-25 Eeckhout, Gerbrand van den: David's Promiseto Bathsheba,21; Landscapewith Ruins, 41; Young Man in a Broad-brimmed Hat, front cover, 22-23 Everdingen, Allaert van, ScandinavianLandscape,45 Goltzius, Hendrick: Autumn,6-7; Spring,5 Goyen, Jan van, RiverLandscape,36 Haarlem, Cornelis Cornelisz van, JunoAppearingto Sea Gods, 10

Huysum, Jan van, A Basketof Fruit, 56 Koninck, Philips, RiverLandscapewith a Man Standing by a Boathouse,34 Laer, Pieter van, Donkey,51 Lievens, Jan, RuralLandscapewith Milkmaid, 35 Maes, Nicolaes, The YoungMother,22 Mander, Karel van, I, A Proverb:Wealth and Poverty,9 Molijn, Pieter, Landscape,37 Monincx, Pieter, Pyramidof Cestiusand the PortaSan Paolo, Rome,50 Ostade, Adriaen van: The Cobbler,25; The Cobbler (etching), 25 Poelenburgh, Cornelis van, Landscape,48 Rembrandt van Rijn: Beheadingof Prisoners,18; A CottageAmongTrees,31; CottageNear the Entranceto a Wood, 32-33; The Entombment, after Mantegna, 16-17; Nathan AdmonishingDavid, 14; Self-Portrait,15; Man Leadinga Camel, 20; Seated Man Wearinga Flat Cap, 19 Saenredam,Jan: Autumn(engraving), 6; Spring (engraving), 6 Schellinks, Willem, View of Saumuron the Loire,44 Velde, Willem van de (the younger), The FrenchVessel Le Courtisan,55 Vinckboons, David, The TriumphalEntryof Frederik Hendrikof Orangeinto The Hague, 12 Visscher, Cornelis, Portraitof a Lady, 26-27 Wittel, Gaspar Adriaensz van, The Arch of Septimus Severusin the RomanForum,with the Columnof Phocasat the Left and the Templeof Saturnon the Right, 52 Dyck, Anthony van, drawings and prints. Anthony van Dyck Albertde Ligne, Princeof Barbanqonand Arenberg (drawing), 9, 34 Hendrickvan Balen (engraving from Iconography series), 35-36 Lucas Vorsterman(etching from Iconography series), 35-36 Dyck, Anthony van, paintings. Anthony van Dyck JamesStuart,Duke of Richmondand Lennox,8-10, 34, 37, 41, 44-45, 47, inside back cover A Man Ridinga Horse,32, 35 A Man Mountinga Horse,32, 34-35 Portraitof a Lady, called the MarchesaDurazzo,22-23 Portraitof a Man, 10-13, 15, 20, 24 Portraitof a Man, probablyLucasvan Uffel, front cover, inside front cover, 24-26, back cover RobertRich, SecondEarl of Warwick,7, 24, 37-38, 40-43

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

Saint RosalieIntercedingfor the Plague-strickenof Palermo,26-28, 30, 32, 42 Self-Portrait,4-5, 15, 18-20 StudyHead of a YoungWoman, 16-17, 32 StudyHead of an Old Man with a White Beard, 14-16 The ThreeEldestChildrenof CharlesI (copy of van Dyck), 36-38

G Georgia O'Keeffe. Lisa Mintz Messinger, 3-64 Greek and Roman Treasury, A. Dietrich von Bothmer, 5-72 Greek gold and silver plate. A Greek and Roman Treasury Archaic, 6, 8-10, 21-45 Cycladic, 5-6, 16 Cypriot, 5-7, 9, 18-22 Fourth-century and Hellenistic, front cover, 10-13 47-63, back cover Prehistoric, 17 3000 B.C.-3rdc. B.C., inside front cover, 5-63 Greek gold and silver plate hoards. A Greek and Roman Treasury Bolsena Silver, 11-12, 61 Montefortino Hoard, 11-12, 62-63

H Hartley, Marsden, Cemetery,New Mexico (painting). Georgia O'Keeffe, 34

K Karsh, Yousuf, Georgia O'Keeffe (photograph). Georgia O'Keeffe, inside back cover

L Liedtke, Walter A. Anthony van Dyck, 4-48

M Mannerism, Dutch. Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art, 3-13 Mantegna, Andrea, Entombment(engraving). Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art, 17 Messinger, Lisa Mintz. Georgia O'Keeffe, 3-64 Mules, Helen Bobritzky, Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art, 3-56

0 O'Keeffe, Georgia, paintings. Georgia O'Keeffe Black Abstraction,23-25 Black Hollyhock,Blue Larkspur,34-35 Black Iris III, 21-23 Black Place II, 54, 56-57 Clam Shell, 23, 26-27, 29 Corn, Dark I, front cover, 19-20, 43

Cow's Skull: Red, White, and Blue, 46-47, 49 Fromthe FarawayNearby,50-51 Near Abiquiu,New Mexico, 44-45 Pelvis II, 52-53 RanchosChurch,38, 40-41 White Canadian Barn II, 29-31 O'Keeffe, Georgia, photographs. Georgia O'Keeffe LookingfromBedroomTowardEspanola,New Mexico, 43, 46 LookingfromGarageto Bedroom,Abiquiu, New Mexico, 32-33 O'Keeffe, Georgia, works on paper. Georgia O'Keeffe AbstractionIX, 7, 9, 11, 29 Blue LinesX, 9, 11 DrawingXIII, 5-7, 9, 32 SeatedNude X, 11-13 SeatedNude XI, 11-13 A Storm,16-18

R Rembrandt van Rijn. Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art, 3-4, 12, 14-22, 25, 27-28, 30-35 Rembrandt van Rijn, followers of. Dutch Drawings of the Seventeenth Century in The Metropolitan Museum of Art, 3, 20-27 Roman Gold and Silver Plate, 1st c. B.c.-3rd c. A.D. A Greek and Roman Treasury, 5, 12-14, 64-71, inside back cover Roman Silver Plate Hoards. A Greek and Roman Treasury Tivoli Hoard, 12-13, 64-65 Trasimene Silver, 13, 66-67 Rubens, Peter Paul. Anthony van Dyck, 4, 6, 9-10, 13, 15-16, 18, 23, 27, 30, 32, 34-37, 42, 45-46 Rubens, Peter Paul, paintings. Anthony van Dyck The Glorificationof the Eucharist,32 Portraitof a Man, Possiblyan Architector a Geographer, 13, 15, 42 Studyof Two Heads, 16 Virgin and Child, 26-27, 29, 32 The Virgin and Child with Saint Catherineof Alexandria, 30-33

S Stieglitz, Alfred. Georgia O'Keeffe, 3-5, 7, 9, 11, 14, 18-19, 21, 29, 32, 34, 56, 59-62 Stieglitz, Alfred, photographic portraits of Georgia O'Keeffe. Georgia O'Keeffe, inside front cover, 18-19, 49

T Titian. Anthony van Dyck, 18, 20, 23-24, 26, 30, 32, 35, 42

W Weston, Edward, ErodedRock, PointLobos(photograph). Georgia O'Keeffe, 28-29

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