Early 17th Century Dutch Art and Continental Ceramics

I have always had a fascination with art work created by the Dutch of the seventeenth-century. Outside of such nineteenth-century American artists as Fitz Henry Lane, William Bradford, Martin Johnson Heade, Thomas Cole, Thomas Chambers, Frederic Edwin Church and the many other New England, Hudson River Valley and American maritime artists - Dutch still-life has always been a subject, I enjoy viewing when visiting a museum or fine art auction.

Fitz Henry (Hugh) Lane - Gloucester, Ma

"Manchester, Ma Harbor" - 19th Century 

Signed and Dated: F.H. Lane, 1853

Sold for $5,500,000 in 2004

Photo Courtesy: Skinner, Inc - Boston

The era is known today as the, "Dutch Golden Age" of painting. In the art world, each global country technically has a period known as its own "Golden Age," when the area's artistic ideas were arguably the most prominent. The Dutch era, was a period in Netherland's history that some-what ignored the popular use of religion in art. Religion was a major influence in  nearly all artwork (no matter the origin) of this period. The Dutch style was unusual and unlike what much of continental Europe was known for of the seventeenth-century.

To be a little more specific, the surviving Dutch still-life of this era is extremely accomplished and foretelling of what the typical household lifestyle may have been like. I am not positive, but I believe the Dutch were the first skilled artists to really put the idea of "still-life" into artwork.

A conventional nineteenth or twentieth-century still-life of European or American origin, can be viewed as a figment of someone's imagination. The scene was typically staged by the artist and in most-cases, the scene is not real whatsoever. The still-life examples of the Dutch are more real than any other eras where this type of painting or drawing was used. Despite lacking any real people or characters within the art, the scenes typically demonstrate an action, where a vision could be attained of what events preceded the painting. Even if the artist did not demonstrate the aftermath of an event - a staged still-life of this period still established a scene that was not altered or fantasized from real-life to the actual canvas.

The later work of European abstract artists are especially known for their skill within the still-life medium. In this field of craft, emotion and feeling are sensationalized in the art . The painting does not necessarily represent the subject as it appears in real-life.

Expressionism and impressionism were both popular in Europe, but neither of these techniques properly demonstrate an actual object. The real-life to canvas transfer was not accurately characterized.

Many later artists followed the work of the seventeenth-century Dutch still-life painters through imitation, but that's all it really was. I guess the saying, "Imitation is the sincerest form of flattery" may stand true here. It is an idea for an artist to flawlessly copy someone else's skilled technique or even an era's (and some art enthusiasts may prefer imitation), but for me personally, the real-life subjects of the Dutch sets their art far apart from all other imitations and the later still-life techniques.

During the Golden Age, the Dutch were known for achieving many art styles that included - portraits, common-life, landscapes, cityscapes, maritime and my personal favorite, still life.

The number one reason I enjoy early Dutch still-life's - many of these examples demonstrate the use of early utilitarian ceramics in the household. Below are fine examples of both Dutch "common life" and "still-life" paintings of the Golden Age that establish the use of pottery.

Artist: Johannes Vermeer - Dutch

Circa 1632-1675

Possibly a 16th or 17th Century Westerwald, Germany Pewter Covered Pitcher

Continental European Redware Pitcher (Possibly Pouring Milk?)

Double Handled Redware Bowl
"Common-Life" Example

School of Jan Davidsz de Heem - Dutch

Circa 1606-1684

Likely a 16th or 17th Century Westerwald, Germany Pewter Covered Pitcher or Jug

Photo Courtesy: Skinner, Inc - Boston
"Still-Life" Example

Hubert Van Ravesteyn - Dutch

1638-1691

16th or 17th Century Delft Stoneware Jug with Pewter or Silver Cover

Sold for  $482,500 in 2013

Photo Courtesy: Christie's Auctions - NY, NY

"Still-Life" Example

Cornelis van Lelienbergh - Dutch

Circa 1626-1676

Likely a 16th or 17th Century Westwerwald, Germany Stoneware Pitcher

Sold for $126,800 in 2007

Photo Courtesy: Christie's Auctions - Amerstadam, Netherlands

"Still-Life" Example

Pieter van Steenwijck - Dutch

Circa 1615-1656

16th or 17th Century Redware, Stoneware and Possibly Delft All Demonstrated

Photo Courtesy: Christie's Auctions - London, England
"Still-Life" Example

Very early art is as close as one can get to photography. The Dutch art of this period paints a portrait that allows a person to see how ceramics were really used in early continental homes. It's an idea to read about the use of utilitarian wares in a book, but to see it actually put onto a canvas in color in what is assumed a real-life setting - is whole other idea.

The world of art was actually my first study in the field of antiques and early decorative arts. It was a part of my studies in college. I feel a general understanding of fine art gives a really good foundation for any antique dealer or collector to work from. If you can see the art in furniture, ceramics or any other decorative arts - it allows you to see aspects of the makers skill that others may not pick up on. I think having a small art background has only benefited my ceramic studies.

I will admit, I do enjoy art very-much, but my feeling has always been that fine art deserves wall space for everyone to enjoy. Exceptional examples of art are desired the world-over by extreme and prestigious collectors. These collectors are the ones who set the standard for what an example is worth. Records are consistently broken and set. The wall space I am suggesting is that of which belongs to museums or public institutions. All art is one of a kind. My belief is everyone should be able to enjoy important art and some examples cannot be seen outside of private collections. That's kind of my belief is that most accomplished art belongs in a safe public atmosphere, but proper funding to compete with private collectors becomes a whole other discussion.

Let me finish with these two ideas: Are the prices in today's fine art world an accurate representation of an artist's or painting's self-worth? Or do they actually reflect the views of the filthy rich the world-over and what they are willing to pay? I've always wondered about this idea. Comments?

More research on early ceramics to come...