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Encyclopedia Britannica - Main :: ORC-PAI |
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OSTADE , the name of two Dutch painters whose ancestors were settled at Eyndhoven, near the village
1. ADRIAN OSTADE (1610-1685), the eldest of Jan Hendricx's sons, was born and died at Haarlem. According to Houbraken he was taught by Frans Hals, at that time master of Adrian Brouwer. At twenty-six he joined a company of the civic guard at Haarlem, and at twenty-eight he married. His wife died in 164o and he speedily re-married, but again became a widower in 1666. He took the highest honours of his profession, the presidency of the painters' gild at Haarlem, in 1662. Among the treasures of the Louvre collection, a striking picture represents the father of a large family sitting in state with his wife at his side in a handsomely furnished room, surrounded by his son and five daughters, and a young married couple. It is an old tradition that Ostade here painted himself and his children in holiday attire; yet the style is much too refined for the painter of boors, and Ostade had but one daughter. The number of Ostade's pictures is given by Smith at three hundred and eighty-five, but by Hofstede de Groot (1910) at over 900. At his death the stock of his unsold pieces was over two hundred. His engraved plates were put up to auction, with the pictures, and fifty etched platesmost of them dated 16471648were disposed of in 1686. Two hundred and twenty of his pictures are in public and private collections, of which one hundred I It was natural that, with the tendency to effect which marked Ostade from the first, he should have been fired by emulation to rival the masterpieces of Rembrandt. His early pictures are not so rare but that we can trace how he glided out of one period into the other. Before the dispersion of the Gsell collection at Vienna in 1872, it was easy to study the steel-grey harmonics and exaggerated caricature of his early works in the period intervening between 1632 and 1638. There is a picture of a " Countryman having his Tooth Drawn
" Woodcutter and Children" in the gallery of Cassel. Innumerable almost are the more familiar themes to which he devoted his brush during this interval, from small single figures, representing smokers or drinkers, to vulgarized allegories of the five senses (Hermitage and Brunswick galleries), half-lengths of fishmongers and bakers and cottage brawls, or scenes of gambling, or itinerant players and quacks, and nine-pin players in the open air. The humour in some of these pieces is contagious, as in the " Tavern Scene " of the Lacaze collection (Louvre, 1653). His art may be studied in the large series of dated pieces which adorn every European capital , from St Petersburg
Village
Earl
capital letters. His pupils are his own brother Isaac, Cornelis Bega, Cornelis Dusart and Richard Brakenburg.2. ISAAC OSTADE (16211649) was born in Haarlem, and began his studies under Adrian, with whom he remained till 1641, when he started on his own account. At an early period he felt the influence of Rembrandt, and this is apparent in a " Slaughtered Pig " of 1639, in the gallery of Augsburg. But he soon reverted to a style more suited to his brush. He produced pictures in 1641T642 on the lines of his brotheramongst these, the " Five Senses," which Adrian afterwards represented by a " Man reading a Paper ," a " Peasant tasting Beer," a " Rustic smearing his Sores with Ointment " and a " Countryman sniffing at a Snuff-box." A specimen of Isaac's work at this period may be seen in the " Laughing Boor with a Pot of Beer," in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a " Concert," with people listening to singers accompanied by a piper and flute
movement
The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artist's name, spelt Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compactseries from 1646 to 1649. In this, the last form of his art, Isaac has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such as glazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to those particular parts. But these blemishes are forgotten when one looks at the broad contrasts of light and shade and the masterly figures of horses and riders, and travellers and rustics, or quarrelling children and dogs, poultry and cattle, amongst which a favourite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Wouverman. But it is in winter scenes that Isaac displays the best qualities. The absence of foliage, the crisp atmosphere, the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes on opal tints of great variety, upon which the figures emerge with masterly effect on the light background upon which they are thrown. Amongst the roadside inns which will best repay attention we should notice those of Buckingham Palace, the National Gallery, the Wallace and Holford collections in England, and those of the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna on the Continent. The finest of the ice scenes is the famous one at the Louvre.For paintings and etchings see Les Freres Ostade, by Marguerite van de Wiele (Paris, 1893). For his etchings seeL'fEuvrg d'Ostade, cu description des eaux-fortes de ce maitre, &c., by Auguste d'Orange (186o); and Catalogue raisonne de toutes les estampes qui ferment l'ceuvre grave d'Adrian van Ostade, by L. E. Faucheux (Paris, 1862). (J. A. C.; P. G. K.) End of Article: OSTADE If you wish, you can link directly to this article.
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