Pleasure and Piety: The Art of Joachim Wtewael, by James Clifton, Liesbeth M. Helmus, Arthur K. Wheelock
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Pleasure and Piety: The Art of Joachim Wtewael, by James Clifton, Liesbeth M. Helmus, Arthur K. Wheelock
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A brilliant colorist and masterful storyteller, Dutch mannerist Joachim Wtewael (1566-1638) wielded a remarkably skilled brush and the technical ability to show it off in intricate compositions. He took inspiration from a wide range of biblical and mythological sources to create imaginative, often quite erotic scenes. While such pictures were prized in Wtewael's time, more recently they were hidden away--behind other paintings, in leather folders on bookshelves, and in the reserves of great museums. This richly illustrated volume brings together more than fifty of Wtewael's finest paintings and drawings, from a small jewel-like picture on copper depicting Mars and Venus to large-scale mannerist showpieces such as The Martyrdom of Saint Sebastian and Perseus and Andromeda.
A pillar of the Utrecht community, Wtewael was engaged in business, religion, and politics as well as art. He adopted the exotic mannerist style, full of artifice and inventive manipulation, and continued to be fascinated by the challenge of creating sophisticated variations well into his maturity, when other Dutch artists had turned to naturalism. This book explores Wtewael's amazingly refined and detailed paintings and drawings, shedding light on his reputation, his life, and the conflicted times--marked by iconoclasm and strife--in which he thrived.
Exhibition schedule:
- Centraal Museum Utrecht, February 21-May 25, 2015
- National Gallery of Art, Washington, June 28-October 4, 2015
- Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, November 1, 2015-January 31, 2016
- Amazon Sales Rank: #903076 in Books
- Published on: 2015-03-22
- Original language: English
- Number of items: 1
- Dimensions: 11.30" h x 1.00" w x 9.90" l, 3.48 pounds
- Binding: Hardcover
- 240 pages
From the Back Cover
"The definitive study of one of the period's most significant artists."--H. Rodney Nevitt Jr., University of Houston
"A timely, well-researched, and beautifully illustrated study of an extraordinarily compelling artist, written by leading lights in the field of Dutch art."--Claudia Swan, Northwestern University
About the Author Arthur K. Wheelock Jr. is curator of northern baroque paintings at the National Gallery of Art, Washington. Liesbeth M. Helmus is curator of old master paintings, drawings, and sculpture at the Centraal Museum Utrecht. James Clifton is director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and baroque painting at the Museum of Fine Arts, Houston. Anne W. Lowenthal is an independent scholar and authority on Joachim Wtewael. Stijn Alsteens is curator of drawings and prints at the Metropolitan Museum of Art, New York.
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13 of 14 people found the following review helpful. Joachim Wtewael at The National Gallery in Washington By Kenneth Hughes This is the catalogue for the exhibition of Joachim Wtewael (1566-1638) mounted at the Centraal Museum in Utrecht from February to May 2015, and then at the National Gallery of Art in Washington from June to October, and finally at the Museum of Fine Arts in Houston from November 2015 until January 2016. It is the first monographic exhibition of his work, which is surprising in light of how accomplished and engaging a painter he was. A fairly comprehensive show, it gathers work from over thirty lenders internationally and presents forty-one of his oeuvre of around 100 paintings and eleven drawings in pen and chalk, representing all the stages of his career and all his favored genres. (Some of the paintings have undergone conservation treatment especially for this occasion.) Arthur J. Wheelock, Jr., Curator of Northern Baroque Paintings at the National Gallery and one of the editors of the catalogue, writes at the beginning of his essay—perhaps a bit tongue in cheek—that one reason Wtewael is less well known than he should be is because his name is hard to pronounce (38). Granted, it looks hard, but it really isn’t: the initial “W” in his name is simply an old Dutch way of writing “Uy” (and in fact an alternative spelling was “Uytewael”). That sounds something like the “ou” in English “out,” followed by an ordinary “tuh,” and then “wael” which is very much like the “voll” in English “volley”: so he is “Ou-tuh-voll”—with the accent on the first syllable. In any case, Dr. Wheelock’s major point was that Wtewael’s artistic reputation has varied greatly over the years, and his essay traces the way the vagaries of his posthumous fortune have largely mirrored the acceptance of mannerism as a style itself. It is a peculiarity of Wtewael’s painting that his technique did not change greatly over the years of his career. In the later work, we can recognize a greater reliance on curves and more rounded figures and perhaps a tendency toward softer modeling, but his work from the late 1620’s (he seems to have stopped painting about a decade before his death) is still very much in his earlier style—which situates him essentially in the last efflorescence of European mannerism. Whereas many of his contemporaries and the younger generation of Utrecht painters (including his son Peter, who trained with him, and one of whose paintings is included in the exhibition, along with one by another of Wtewael's pupils) had gone on to a much more realistic manner of painting, Wtewael remained comfortable with the themes and compositional forms of the kind of Central European mannerism practiced by Emperor Rudolf’s chief court painter at Prague, Bartolomaeus Spranger (himself very recently also the subject of a first monographic exhibition, at New York’s Metropolitan Museum: see the review on this website; these volumes are wonderfully complementary) as these were introduced to Dutch artistic consciousness through the engravings of Hendrick Goltzius. These and other historical topics are well discussed in the six essays which precede the catalogue, all of which are written by senior scholars and curators at the host museums and the Metropolitan, and which include also a consideration of Wtewael’s religious paintings in the confessionally conflicted atmosphere of his time, and the first broader discussion of his graphic work, reducing by more than half the number of reliable autographs.The volume is excellently illustrated, a great advantage given that Wtewael’s art is so little known. Each of the fifty-four catalogue entries is reproduced full-page, most in excellent color and definition, and throughout the essays and catalogue there are some ninety or so supportive illustrations and upwards of twenty full-page blow-up details. These are quite important, because apart from the portraits, the other paintings—genre, religious, or mythical—tend to be replete with figures. Especially his mythical feasting scenes (“The Wedding of Cupid and Psyche” [c. 1601-1603], “The Wedding of Peleus and Thetis” [1602], etc.) are as brimming with people and victuals as the great feasts of Veronese—except that few of Wtewael’s figures are clothed, and there’s more wine and a lot of open groping. Some of these mythical paintings are surprising in their frank eroticism, going beyond even that which we saw in the work of Spranger (whose exhibition was appropriately titled “Splendor and Eroticism”): catching Mars and Venus either in foreplay or in post-coital lassitude, for example, is one thing (and dozens of painters delighted in depicting such scenes), but catching them coupled at the actual moment is another, as witnessed by the apparently scandalized owner of a preparatory sketch for “Mars and Venus Surprised by Vulcan” (1604-1608), who fussily scissored out the interlocking parts. (Anne W. Lowenthal, one of the contributors to this catalogue, has devoted a small monograph to an extended examination of that painting: see the review on this website.) The fine definition of the reproductions is important for another reason as well: although Wtewael sold many of his paintings, he was independently wealthy from other sources and could paint whatever and however he wanted to. One of his favorite types of work was the small cabinet painting on copper, to be held in the hand and examined at close range; no fewer than twenty-six of his known paintings are on copper, which is a very special support. For one thing, it ensures that these paintings are in an excellent state of preservation: since copper is largely impervious to atmospheric conditions, the medium is not subject to expansion or shrinkage (there is no craquelure in oil on copper), and abrasion is not commonly a problem, since such paintings were usually kept, literally, in cabinets or in protective folios. For another thing, copper is reflective, and because oil paint is not completely opaque, oil on copper is capable of producing very subtle tonalities; and since the support is perfectly smooth, even a quite thinly painted surface can produce an unusual effect when held at an angle to the light. Unfortunately, none of the catalogue paintings is reproduced in raking light, but the copper reproductions are especially fine in detail, including even those small enough to be reproduced actual size on the catalogue page. In addition, the detail achievable on copper is extraordinary: "Peleus and Thetis," for example, depicts over 100 figures, above them a heaven scene with Iris on her rainbow, below them wooded hills with mountains and valleys in the distance, and a town on a lake with a fleet of ships--all on a surface only slightly larger than 16"x12". Each of the catalogue entries has a two- or three-page annotated discussion by one of the contributing scholars, with the usual descriptive data, provenance, and some selected literature references. Additional apparatus consists of a small but good general selected bibliography and an index of names and titles. This is a beautifully produced book and a substantial contribution to art history, warmly recommended to everyone interested in Northern mannerism or Dutch painting at the dawn of the Golden Age.
0 of 0 people found the following review helpful. Recommended By Scott Smithson This book has astonishingly beautiful reproductions. Highly recommended.
2 of 4 people found the following review helpful. Love this book By Stevie Moon Got this for his interpretation of human body rendering. His approach is so romantic and detailed. Love this book, never heard of this artist before, opened my eyes to some stunning imagery. Would highly recommend for anyone, including painters, figurative drawers, sculptures. Highly imaginative and the compositions are very unique and profound. Love this book.
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