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Encyclopedia Britannica - Main :: AJA-ALL |
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ALBERT Cuvi (162o-1691), the son of Jacob Gerritsz by Grietche Dierichsdochter (Dierich's daughter), was born at Dordrecht
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Dordrecht
bear the distinctive marks C. or A. C. in cursive characters, the letters A. C. in Roman capitals, and the name " A. Cuypin full. A man of Cuyp's acknowledged talent may have been versatile enough to paint in many different styles. But whether he was as +versatile as some critics have thought is a question not quite easy to answer. It is to be observed that pieces assigned to Cuyp representing game, shell-fish and fruit, and inscribed A. C. in Roman capitals (Rotterdam, Amsterdam and Berlin museums), though cleverly executed, are not in touch or treatment like other pictures of less dubious authenticity, signed either with C. or A. C. or " A. Cuyp " in cursive letters. The panels marked C. and A. C. in cursive are portraits or landscapes, with herds, and interiors of stables or sheds, in which there are cows, horses and poultry. The subjects and their handling are akin to those which strike us in panels bearing the master's fullsignature, though characterized, as productions of an artist in the first phase of his progress would naturally be, by tones more uniform, touch more flat, and colour more deep than we find in the delicate and subtle compositions of the painter's later time. Generally speaking, the finished examples of Cuyp's middle and final period all bear his full signature. They are all remarkable for harmonies attained by certain combinations of shade in gradations with colours in contraposition.Albert Cuyp, a true child of the Netherlands, does not seem to have wandered much beyond Rotterdam on the one hand or Nijmwegen on the other. His scenery is that of the Meuse or Rhine exclusively; and there is little variety to notice in his views of water and meadows at Dordrecht, or the bolder undulations of the Rhine banks east of it, except such as results from diversity of effect due to change of weather or season or hour. Cuyp is to the river and its banks what Willem Vandevelde is to calm seas and Hobbema to woods. There is a poetry of effect, an eternity of distance in his pictures, which no Dutchman ever expressed in a similar way. His landscapes sparkle with silvery sheen at early morning, they are bathed in warm or sultry haze at noon, or glow with heat at eventide. Under all circumstances they have a peculiar tinge of auburn which is Cuyp's and Cuyp's alone. Burger truly says van Goyen is gray, Ruysdael is brown, Hobbema olive, but Cuyp " is blond." The utmost delicacy may be observed in Cuyp's manner of defining reflections of objects in water, or of sight from water on ship's sides. He shows great cleverness in throwing pale-yellow clouds against clear blue skies, and merging yellow mists into olive-green vegetation. He is also very artful in varying light and shade according to distance, either by interchange of cloud-shadow and sun-gleam or by gradation of tints. His horses and cattle are admirably drawn
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capital pieces show us people sledging and skating or netting ice-holes (Yarborough, Neeld and Bedford collections). A lovely " Night on the Banks of a River," in the Grosvenor collection, reminds us that Cuyp's friend and contemporary was the painter of moonlights, Aart van der Neer, to whom he was equal in the production of these peculiar effects and superior in the throw of figures. Sometimes Cuyp composed fancy subjects. His " Orpheus charming the Beasts," in the Bute collection, is judiciously arranged with the familiar domestic animals in the foreground, and the wild ones, to which he is a comparative stranger, thrown back into the distance. One of his rare gospel subjects is " Philip baptizing the Eunuch " (Marchmont House, Berwickshire), described as a fine work by Waagen. The best and most attractive of Cuyp's pieces are his Meuse and Rhine landscapes, with meadows, cattle, flocks and horsemen, and occasion-ally with boats and barges. In these he brought together and displayedduring his middle and final periodall the skill of one who is at once a poet and a finished artist; grouping, tinting,CUZCO
touch, harmony of light and shade, and true chords of colours are all combined. Masterpieces of acknowledged beauty are the " Riders with the Boy and Herdsman " in the National Gallery; the Meuse, with Dordrecht in the distance, in three or four varieties, in the Bridgewater, Grosvenor, Holford and Brownlow collections; the " Huntsman
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John Smith's Catalogue raisonne of the Dutch and Flemish painters, in 9 vols. (184o), enumerated 335 of Albert Cuyp's works, of which in 1877 Sir J. A. Crowe wrote in this encyclopaedia that " it would be difficult now to find more than a third of them." In C. Hofstede de Groot's Catalogue raisonne, vol. ii. (1909), revising Smith's, the number is extended to nearly 85o, but he accepts too readily the attributions of sale catalogues ; the work is, however, the best modern authority on the painter. End of Article: ALBERT If you wish, you can link directly to this article.
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