Portal de Periódicos da CAPES

Kring Caravaggios efterföljd i holländsk stillebenkonst

1944; Taylor & Francis; Volume: 13; Issue: 1-4 Linguagem: Inglês

10.1080/00233604408603357

1651-2294

Kjell Boström,

Financial Crisis of the 21st Century

Summary The author claims to see in the emphasized solution of the problems of light and form in certain 17th‐cent. Dutch still‐life painters a reflex of the Caravaggian conception of art. This influence appears to have been spread partly through Caravaggio's successors in Utrecht and partly, no doubt, via other routes that have now more or less disappeared. David Bailly's circle at Leyden might perhaps serve as a point of departure for research into these possible connecting‐links. Besides in Leyden, the Caravaggio tradition in still‐life painting is traceable in Haarlem—Pieter Claesz—and Amsterdam—Johannes Torrentius. With this international light‐effect painting the author contrasts the inherently Dutch chiaroscuro style, represented by the artists den Uyl, Treck and Kalf, of Amsterdam.—Further, the author outlines the iconography of “vanitas” still life and, parenthetically, touches upon the significance of symbolism in Dutch still‐life art.