阿德里安布劳沃Adriaen Brouwer（1605年—1638年），佛兰德画家。
仍有许多未解决的问题的早期生活和事业奥斯塔这。早期的荷兰传记作家阿诺德Houbraken包括多个错误的语句和不切实际,这在他的故事荷兰画家的剧院1718 - 1719年。最明显的错误Houbraken这地方的出生地哈勒姆在荷兰共和国和识别弗朗斯·哈尔斯当他的主人。
苦涩的吃水
现在人们普遍认为,这出生在Oudenaarde在弗兰德斯在1605年或1605年。他父亲也被称为奥斯塔担任挂毯设计师在Oudenaarde,当时生产在佛兰德斯tapestry的一个重要中心。父亲死于贫困奥斯塔年轻时只有16岁。这到那时已经离开了父亲的家里。
这在1622年安特卫普。1625年3月奥斯塔这记录他居住在阿姆斯特丹Barent van Someren客栈的画家。这进一步记录1626年7月23日公证见证人当他签署了一份声明Barend van Someren和奥斯塔Nieulandt关于出售照片在阿姆斯特丹。可能到那个时候他已经住在哈勒姆。他是活跃的室的言辞“德Wijngaertranken”在哈勒姆。这个业余文学圈的座右铭是:爱高于一切。
1631年这回到他的家乡佛兰德斯,他是在安特卫普注册为大师公会的圣路加福音之前他已经成为一个关口安特卫普。艺术家继续生活和工作在安特卫普,直到他的过早死亡。艺术家的名字经常出现在安特卫普记录通常与安排他的各种债务。
这1633年被监禁在安特卫普的城堡。监禁的原因还不清楚。可能因逃税,或者,或者,出于政治原因,因为地方政府可能会认为他是一个间谍荷兰共和国.[6]面包店的操作在安特卫普城堡是面包师的手中乔斯·Craesbeeck。假设这和van Craesbeeck可能在这段时间认识了对方。基于当代佛兰德的传记作者所提供的信息Cornelis de Bie在他的书中Het基尔德内阁范Craesbeeck被认为是成为了这的学生和最好的朋友。他们的关系被德Bie的d -秀'oude songhen,秀pypen de jonghen”(旧的唱,唱年轻人”)。[8]范Craesbeeck相似风格的早期作品,这似乎证实了这些学生的身份。
1634年4月26日奥斯塔这的房子住下著名的雕刻师保卢斯本丢两人成了亲密的朋友。同年加入了当地室的言辞Violieren.[6]有人建议,这是绘画胖子或Luxuria(毛利斯),这可能代表了致命的罪欲望的同时保卢斯本丢的肖像。
早期传记作家描述奥斯塔这艺术家和他的朋友花了很多时间在当地酒馆狂欢,通常加入的艺术家。这画一个酒馆场景吸烟者一起,其中包括一个自画像的画像Jan Cossiers简•列文乔斯,van Craesbeeck和Jan Davidsz。de Heem大都会艺术博物馆(c。1636年,纽约)。显示了公司的朋友围坐在一张桌子和吸烟。这是中间的图是谁转过身来面对观众。这种类型的群像翻倍的表示一个五感(在这种情况下,味觉)。
尽管他放荡的生活方式和他的偏爱报道落魄潦倒,这被他的同事非常受人尊敬的就是明证,鲁本斯拥有17日通过了这他死的时候,至少其中一个获得过鲁本斯认识了这。[6]伦勃朗也画在这集合。
气味
1635年这了Jan-Baptist Dandoy(活跃的1631 - 1638年)作为他唯一的正式注册学生。1638年1月奥斯塔这死于安特卫普。一些早期传记作家他的早逝与党内生活方式和滥用酒精。然而,Houbraken属性的瘟疫去世。后者的证据是,最初他的遗体被埋葬在一个共同的坟墓。在他死后仅仅一个月,他的身体在迦密re-interred教会安特卫普1638年2月1日一个庄严的仪式后,计划和费用和他的艺术家朋友的存在。
这留下了一个小的作品总计约60。几个他的作品签署,而没有一个约会。这被广泛复制、模仿和跟随在他的时间,这归因的工作有时是不确定的或有争议的。例如,吸烟者 (罗浮宫)显示一个人呼出的烟雾而拿着一瓶酒是认为这很长一段时间,但现在给了这的追随者,可能学生乔斯·Craesbeeck。
这是流派的主要主题场景与农民、士兵和其他“下层阶级”个人从事酗酒、吸烟、卡片或骰子玩,打架等通常设置在酒馆或农村设置。这也导致了流派的发展创益科技,即头部或面部研究调查品种的表达式。他创作了一些景在他职业生涯的最后几年。这的作品几乎都是在小格式执行。
室内的酒馆
这是受Dirck哈尔斯在哈勒姆,一个流派画家活跃。这与确定性的文体发展不能追踪。照片在明亮自然的颜色被认为是画在1620年代。大约在1630年,这是面板开始显示强烈的偏爱棕色,灰色和绿色。画家有一个免费的,粗略的绘画方式和应用油漆薄。
在他的风格场景这描绘农民、士兵和其他“下层阶级”个人从事各种形式的恶习,如喝酒、吸烟、卡片或骰子玩、争吵等通常设置在酒馆或农村设置。他的作品经常出现的唯一目的是表示副的本质。
它仍质疑他是否打算传达任何道德的信息。他逐渐的表情似乎把更多注意力集中在他的臣民经历痛苦的情绪,愤怒、厌恶和快乐。这是特别清晰的在他的许多画作的酒馆争吵,比如农民之间的争吵和斗殴卡球员(两个都是Alte Pinakothek,慕尼黑)。这些作品描述如何在其不同阶段和度是反映在人的面部表情有一个论点。这似乎并不谴责这些爆发的愤怒作为基督徒的罪,但缺乏自控能力的表达。这种观点可能是基于伦理思想的塞内卡重新发现和发展Neostoicism佛兰德的语言学者和人文主义贾斯特斯Lipsius。这些新想法在安特卫普的人文圈公认的这一部分。
奥斯塔这被认为是一个重要的创新者的肖像画,一位著名的在荷兰的艺术流派。
年轻时做鬼脸
他最著名的群像设置在一个酒馆,被称为吸烟者 (ca。1636年,大都会艺术博物馆,在纽约).尽管题目很现代,现场是一组其他艺术家的画像的奥斯塔这人居住在安特卫普。不是所有的人都被确认与确定性。这是第二个图左边转向观众。他眼睛睁大,持有他的右手啤酒罐和泡芙烟从他的烟斗。这个数字已被确认为最右边Jan Davidsz。de Heem。确定的其他艺术家没有明确,但建议简•列文在最左边的那个人,乔斯·Craesbeeck中间的人Jan Cossiers第二个人在右边。这组肖像被认为是属于“友谊肖像”的类型。类似的友谊肖像,包括一个自画像鲁本斯在他之前创建自画像在曼图亚的朋友圈并通过西蒙·德·沃斯在自己的群像约翰Geerlof和简Cossiers称为吸烟,喝酒的聚会。而后者两个友谊相当传统的画像,这创新类型的吸烟者。他实现了通过扩大全身肖像,肖像设置场景在一个酒馆,面临的表现力与冷淡的举止和服装的模特身上。成分的活力将群像接近了这酒馆的场景比当代肖像绘画。肖像的吸烟者也落入一个流派“放荡”艺术家肖像,扎根在17世纪荷兰和佛兰德的风俗画。文艺复兴的类型是一个倒置的理想的画架座doctus”:艺术家作为一个知识和绅士。这个理想是浪子的新模式所取代的艺术家的特点是他的创作灵感和天赋。这些(自我)强调了艺术家的肖像放荡的性质通过创建关联与传统道德主题等五种感官,七宗罪和浪子在酒馆。在吸烟者Bouwers描绘了味觉。
这在流派的发展发挥了重要作用的“tronie”。tronie一词通常是指图研究不是为了描述一个可识别的人,而是调查品种的表达式。因此创益科技的一种形式浮世绘在肖像格式。奥斯塔这导致了流派作为表达他有天赋。他的工作面临了下层人物注入他们的图像识别和生动地表达了人类emotions-anger,欢乐,痛苦,快乐。他年轻时做鬼脸(c。1632/1635,国家美术馆的艺术)显示一个年轻人用讽刺和嘲笑的姿态与海明威他,但是讨厌的他可能出现。这有力的应用涂料的组成、典型的短,未调制的笔触,增加了戏剧性的影响。
画家经常回到旧的主题的寓言五感,创造了一系列创益科技描绘了五种感官或七宗罪。这还画了许多流派画像代表五种感官或七宗罪。[5]这幅画被称为一个例子胖子或Luxuria(毛利斯),它被认为是一个肖像保卢斯本丢的表示致命的罪的欲望(在拉丁语luxuria”)
There are still a number of unresolved questions surrounding the early life and career of Adriaen Brouwer. The early Dutch biographer Arnold Houbraken included multiple erroneous statements and fanciful stories about Brouwer in his The Great Theatre of Dutch Painters of 1718-1719. The most glaring mistakes of Houbraken were to place Brouwer's place of birth in Haarlem in the Dutch Republic and to identify Frans Hals as his master.
It is now generally accepted that Brouwer was born in Oudenaarde in Flanders in the year 1605 or 1606. His father who was also called Adriaen worked as a tapestry designer in Oudenaarde, at the time an important center for tapestry production in Flanders. The father died in poverty when Adriaen the younger was only 15–16 years old. Brouwer had by that time already left the paternal home.
Brouwer worked in Antwerp in 1622. By March 1625 Adriaen Brouwer was recorded in Amsterdam where he resided in the inn of the painter Barent van Someren.[4] Brouwer is further recorded on 23 July 1626 as a notary's witness when he signed a statement of Barend van Someren and Adriaen van Nieulandt about at a sale of pictures in Amsterdam. It is possible that by that time he already lived in Haarlem.[3] He was active in the Chamber of Rhetoric 'De Wijngaertranken' in Haarlem. The motto of this amateur literary circle was: In Love Above All Else.
In 1631 Brouwer returned to his native Flanders where he was registered as a master in the Antwerp Guild of St Luke even before he had become a poorter of Antwerp. The artist continued to live and work in Antwerp until his untimely death. The artist's name regularly shows up in Antwerp records usually in connection with arrangements for his various debts.[6]
In 1633 Brouwer was jailed in the citadel of Antwerp. The reason for the imprisonment is not clear. Possibly it was for tax evasion, or, alternatively, for political reasons because the local authorities may have considered him to be a spy for the Dutch Republic.[6] The operation of the bakery in the Antwerp citadel was in the hands of the baker Joos van Craesbeeck. It is assumed that Brouwer and van Craesbeeck likely got to know each other during this time. Based on information provided by contemporary Flemish biographer Cornelis de Bie in his book Het Gulden Cabinet van Craesbeeck is believed to have become Brouwer's pupil and best friend. Their relationship was described by de Bie as ‘Soo d'oude songhen, soo pypen de jonghen’ (As the old ones sing, so sing the young ones’).The stylistic similarities of van Craesbeeck's early work with that of Brouwer seem to corroborate such pupilage.
On 26 April 1634 Adriaen Brouwer took up lodgings in the house of the prominent engraver Paulus Pontius as the men had become close friends. The same year the pair joined the local chamber of rhetoric Violieren. It has been suggested that Brouwer's painting calledFat man or Luxuria (Mauritshuis), which possibly represents the deadly sin of lust, is at the same time a portrait of Paulus Pontius.[10]
Early biographers describe how Adriaen Brouwer and his artist friends spent a lot of their time partying in the local taverns, often joined there by fellow artists. Brouwer painted a tavern scene called The smokers, which included a self-portrait together with portraits of Jan Cossiers, Jan Lievens, Joos van Craesbeeck and Jan Davidsz. de Heem (c. 1636, Metropolitan Museum of Art, New York). The company of friends is shown sitting around a table and smoking. Brouwer is the figure in the middle who is turned around to face the viewer. This type of group portrait doubled as a representation of one of the five senses (in this case the sense of taste).
Despite his reported dissolute lifestyle and his preference for low-life subjects, Brouwer was highly respected by his colleagues as evidenced by the fact that Rubens owned 17 works by Brouwer at the time of his death, of which at least one had been acquired before Rubens got to know Brouwer personally.[6] Rembrandt also had paintings by Brouwer in his collection.
In 1635 Brouwer took on Jan-Baptist Dandoy (active 1631-1638) as his only officially registered pupil. In January 1638 Adriaen Brouwer died in Antwerp. Some early biographers associated his early death with his party lifestyle and abuse of alcohol. Houbraken, however, attributes his death to the plague. Evidence for the latter is that originally his remains were buried in a common grave. Only a month after his death, his body was re-interred in the Carmelite Church of Antwerp on 1 February 1638 after a solemn ceremony and at the initiative and expense and in the presence of his artist friends.[6]
Brouwer left a small body of work amounting to about 60 works. Just a few of his works are signed, while none is dated.As Brouwer was widely copied, imitated and followed in his time, attributions of work to Brouwer are sometimes uncertain or contested. For instance, the The smoker (Louvre) showing a man exhaling smoke while holding a bottle of liquor was attributed for a long time to Brouwer, but is now given to Brouwer's follower and, possibly, pupil Joos van Craesbeeck.
The principal subject matter of Brouwer are genre scenes with peasants, soldiers and other 'lower class' individuals engaging in drinking, smoking, card or dice playing, fights etc. often set in taverns or rural settings. Brouwer also contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression.[5] He produced a few landscapes in the final years of his career.Brouwer's compositions are nearly all executed in small format.
Brouwer was influenced by Dirck Hals, a genre painter who was active in Haarlem. Brouwer's stylistic development cannot be traced with certainty. Pictures in bright natural colours are believed to have been painted in the 1620s.[3] Around 1630, Brouwer's palette started showing a strong preference for browns, greys and greens. The painter had a free, sketchy manner of painting and applied paint thinly.
In his genre scenes Brouwer depicted peasants, soldiers and other 'lower class' individuals engaging in various forms of vices such as drinking, smoking, card or dice playing, brawlss etc. often set in taverns or rural settings.[4] The sole purpose of his compositions often appears to be the representation of the essence of the vice.
It is still contested whether he intended to convey any moral message. He gradually appears to have concentrated more on the expressions of his subjects going through the emotions of pain, anger, disgust and joy. This is particularly clear in his many paintings of tavern brawls, such as the Brawl between peasants and Brawling card players (both in the Alte Pinakothek,Munich). These compositions depict how rage in its varying stages and degrees is reflected in the facial expressions of the persons having an argument. Brouwer does not appear to denounce these outbreaks of anger as a Christian sin but as an expression of a lack of self-control. This view was likely based on the ethical ideas of Seneca which were rediscovered and developed into Neostoicism by the Flemish philologist and humanist Justus Lipsius. These new ideas were generally accepted in Antwerp's humanist circle of which Brouwer formed part.
Adriaen Brouwer is regarded as an important innovator of portrait painting, a prominent genre in Netherlandish art.
His most famous group portrait is set in a tavern and is referred to as The smokers (ca. 1636, The Metropolitan Museum of Art, in New York City).[12] Despite the modern title, the scene is a group portrait of fellow artists of Adriaen Brouwer who resided in Antwerp. Not all of them have been identified with certainty. Brouwer is the second figure on the left who is turned towards the viewer. He has his eyes wide open, holds a beer jug in his right hand and puffs out smoke from his pipe. The figure on the far right has been identified asJan Davidsz. de Heem. The other artists have not been identified with certainty but it has been suggested that Jan Lievens is the person on the far left, Joos van Craesbeeck the person in the middle and Jan Cossiers the second person on the right. This group portrait is regarded as belonging to the type of the 'friendship portrait'. Similar friendship portraits that include a self-portrait had been created before by Rubens in his Self-portrait in a circle of friends from Mantua and by Simon de Vos in the group portrait of himself with Johan Geerlof and Jan Cossiers referred to as Gathering of Smokers and Drinkers. While the latter two friendship portraits were fairly conventional, Brouwer innovated the type in The smokers. He achieved this by expanding the portraits to full-length portraits, setting the scene in a tavern, the expressiveness of the faces and the nonchalant demeanor and clothing of the sitters. The dynamism of the composition brings the group portrait closer to Brouwer's tavern scenes than to contemporary portrait paintings.[10] The portrait The smokers falls also into the genre of the 'dissolute' artist portraits that took root in Dutch and Flemish genre painting in the 17th century. The genre was an inversion of the Renaissance ideal of the ‘pictor doctus’: the artist as an intellectual and gentleman. This ideal was replaced by the new model of the prodigal artist who is characterized by his creative inspiration and talents. These (self-)portraits emphasized the artists' dissolute nature by creating associations with traditional moral themes such as the Five senses, theSeven deadly sins and the Prodigal Son in the tavern. In The smokers Bouwers depicted the sense of taste.[5]
Brouwer played an important role in the development of the genre of the 'tronie'. The term tronie typically refers to figure studies not intended to depict an identifiable person, but rather to investigate varieties of expression. As such tronies are a form of genre painting in a portrait format. Adriaen Brouwer contributed to the genre as he had a talent for expressiveness. His work gave a face to lower-class figures by infusing their images with recognizable and vividly expressed human emotions—anger, joy, pain, and pleasure. His Youth Making a Face (c. 1632/1635, National Gallery of Art) shows a young man with a satirical and mocking gesture which humanises him, however uninviting he may appear. Brouwer's vigorous application of paint in this composition, with his characteristically short, unmodulated brushstrokes, increases the dramatic effect.
Genre painters often returned to the old theme of the allegory of the five senses and created series of tronies depicting the five senses or the seven deadly sins. Brouwer also painted a number of genre portraits that represent the five senses or the seven deadly sins. An example is the painting called Fat man or Luxuria (Mauritshuis), which is believed to be a portrait of Paulus Pontius as well as a representation of the deadly sin of lust ('luxuria' in Latin).
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