I recently visited the Holburne Museum and Victoria Museum in Bath (http://www.holburne.org/). This houses the collection of 19th-century collector Sir William Holburne. The museum has a range of items from porcelain to paintings. I focussed on the paintings. In particular, the approached to painting/drawing fabric. This was going to be an important element of my final assignment.
This is more a collection of reference material’s rather than a critical analysis.
Interesting composition and use how the black fabric is rendered. SOmething strange going on with the perspective of the light. I like the way it is set at the eye level of the wife – making here the focus of the picture – it seems a bit off to me though.
A lovely example of painting satin.
Beautiful work on the white nightgown and up close you get a real feel for the gold thread on the bedclothes.
The course brushwork here gives the impression of a thick, well-used apron.
In complete contrast to the rugged working baker – these fine ladies have beautifully rendered satin and lace dresses.
This one caught my eye partly because of the atmospheric use fo candlelight and the impact on the way the folds are painted, but also because it is a mirror image of a painting I from the school of Peter Paul Ruben’s painting I saw at the Mauritshuis in the Hague. The caption there said that Rubens kept this painting in his school as a teaching aid for his students to copy. My guess is Schalcken studied there – or at least saw this painting. It is an accurate depiction and so I assume it was copied first hand rather than from memory. What is interesting is that it has been flipped horizontally. That seems both strange and unnecessarily complicated – perhaps done for the challenge. Another interesting thought though is if something like a camera obscura was used. I think that would have flipped the image in this way.
Peter Paul Rubens, Old Woman and Boy with Candles, c. 1616 – 1617