She made close adaptations of three of Hals’ works.
partially turned to the viewer and her lips are parted as if she was speaking.
These popular genre scenes depicted revelers, costumed actors, dancers, and musicians.
Her father operated a brewery called the “Ley-ster” (lode or guide star) from which the family took its name. Her work was highly regarded by her contemporaries, however, after her death she was largely forgotten.
Her facility with the brush is suggested by the freshness of her own image and by her fistful of brushes, which she easily handles against her palette. Leyster has depicted herself at her easel, briefly interrupting work on a painting of a violin player to interact with the viewer. While the details of her training are uncertain, she was mentioned in a Dutch book by Samuel Ampzing titled Beschrijvinge ende lof der stadt Haerlem (1928).
The controversy aroused the interest of scholars who were soon able to link the initials to Leyster and the star to her family name. around 1653.Judith Leyster was a Dutch Golden Age painter who was specialised in genre paintings and still lifes. She had returned there at least by November 1631 when she witnessed the baptism of one of Hals’ children.There is no documentary evidence that Leyster studied with Hals or worked in his shop, although she clearly adopted his free manner and took on many of the same subjects. Februar 1660 begraben. Juli 1609; Haarlem, Netherlands ; Gestorben: ... Judith Leyster starb in Heemstede und wurde dort am 10.
self-portrait an opportunity to advertise her abilities. Enter your email address to follow this blog and receive notifications of new posts by email.And on the easel, we can see as a work in progress, a laughing fiddler which is a typical example of one of Leyster’s favourites subject in genre painting.
Bereits ab 1629 begann Judith Leyster, ihre Bilder zu signieren und zu datieren.
sort of association. Infrared photography reveals that the painting on the easel had originally depicted a woman’s face. From the 16th century artists had tried to win acceptance of painting as a liberal art, promoting it as a profession, not merely a manual craft. Several of Leyster’s paintings do exhibit similarly strong contrasts of dark and light. By the time she was applying to be a master in the Saint Luke’s Guild in Haarlem that she painted this self-portrait.
By the time she was applying to be a master in the Saint Luke’s Guild in Haarlem … For years and only in 1949, when it was acquired by the National Gallery of Art, it was But being part of a guild, it was very important to be Her entire work was attributed to other male painters.A “masterpiece”Nameless and Friendless by Emily Mary OsbornSome art critics have found in it a sense of “Baroque Closeness”, since the artist and the viewer are very close in space. In fact, Leyster’s self-portrait serves as a piece of self-promotion, advertising both her products and her skill. herself in what must have been her best clothes, a huge collar and silk sleeves The figure of the violin player in the self-portrait reprises one from a merry company Leyster had painted a year or so before. properly attributed to Leyster. Judith Leyster’s Self-Portrait exudes self-confidence in her abilities, and it has become one of the National Gallery of Art’s most popular Dutch paintings.
Many art historians have
which would also have been extremely expensive so, it is hard to believe that Leyster’s dress of rich fabric and her stiff lace collar—wholly unsuited for painting—aim at the same goal of celebrating her success and separating her from less sophisticated artisans. In all likelihood, this would have been Leyster’s own face—a self-portrait within a self-portrait. Her entire work was attributed to other male painters.A “masterpiece” A “masterpiece” It is a self-portrait in oil painted around 1633.
painted herself, but she also painted herself working. https://www.khanacademy.org/.../baroque-art1/holland/v/leyster-self
Painters, therefore, depicted themselves in fine clothes and with elegant demeanor, emphasizing their erudition and status.
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