2度目のアムステルダム　出張のついでに 94-×× "RIJKSMUSEUM" (アムステルダム国立美術館)！

2014/10/21 - 2014/10/21

2014年10月、2度目の国立アムステルダム美術館訪問時の画像をアップ！

（真贋の決着がついていないものも含め）フェルメールの作品37作品の内、こちらでは４点（小路、牛乳を注ぐ女、青衣の女、恋文）を所蔵しているそうな･･･。ちなみに、所有者別の所蔵状況は以下の通りだそうです。
１）メトロポリタン美術館　５点
２）アムステルダム国立美術館　４点
〃）ワシントン・ナショナル・ギャラリー
４）マウリッツ・ハイス美術館　３点
〃）フリック・コレクション（米・ニューヨーク）
６）ベルリン国立美術館　2点
〃）ドレスデン国立古典絵画館
〃）ルーヴル美術館
〃）ロンドン・ナショナル・ギャラリー
10）アントン・ウルリッヒ美術館（ドイツ・ブラウンシュバイク）１点
〃）シュテーデル美術館　
〃）ウィーン美術史美術館
〃）英国王室コレクション
〃）ケンウッド・ハウス
〃）スコットランド・ナショナル・ギャラリー
〃）アイルランド・ナショナル・ギャラリー
〃）イザベラ・スチュワート・ガードナー美術館（米国・ボストン）
他）個人蔵　２点

エリア アムステルダム(オランダ)

• 旅行の満足度: 5.0

2014年10月21日の朝

ホテル オークラ アムステルダム ザ リーディング ホテルズ オブ ザ ワールド ホテル

アムステルダム国立美術館

アムステルダム国立美術館 博物館・美術館・ギャラリー

〔以下英文の解説と正面からの画像は、国立美術館HP　https://www.rijksmuseum.nl/en　から〕

Shiva Nataraja, anonymous, c. 1100 - c. 1200
bronze, h 153.0cm × w 114.5cm

Shiva, in his manifestation as Nataraja (King of Dancers), represented in the anandatandava pose and encircled by a halo of fire, is both the creator and destroyer of the world. Beneath his foot is a dwarf, symbolizing ignorance. Richly decorated bronze figures of Hindu gods were carried in procession on feast days. Carrying poles were inserted through the rings on the base.

Night Watch, Militia Company of District II under the Command of Captain Frans Banninck Cocq, Rembrandt van Rijn, 1642
oil on canvas, h 379.5cm × w 453.5cm × w 337kg

Rembrandt’s largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of Amsterdam’s civic guard, the city’s militia and police. Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is telling his lieutenant to start the company marching. The guardsmen are getting into formation. Rembrandt used the light to focus on particular details, like the captain’s gesturing hand and the young girl in the foreground. She was the company mascot. The nickname Night Watch originated much later, when the painting was thought to represent a nocturnal scene.

Woman with a Child in a Pantry, Pieter de Hooch, c. 1656 - c. 1660
oil on canvas, h 65cm × w 60.5cm

Pieter de Hooch worked in Delft for a few years at the same time as Johannes Vermeer. Both artists were fascinated by how to render light and space. Here, De Hooch represented a space by means of two ‘throughviews’ (glimpses through doorways or windows): one into the cellar, the other into the entrance hall. He depicted the daylight with the lightest of paint, namely pure white. He thus created the perfect illusion of an interior space.

A Mother Delousing her Child’s Hair, Known as ‘A Mother’s Duty’, Pieter de Hooch, c. 1660 - c. 1661
oil on canvas, h 52.5cm × w 61cm

A mother thoroughly inspects her child’s head for lice. She pursues her task in a sober Dutch interior, with Delft blue tiles and a box bed. In the right foreground is a ‘kakstoel’, or potty chair. Through the doorway is a glimpse of a sunny back room and a garden. De Hooch specialized in such ‘through-views’.

Figures in a Courtyard behind a House, Pieter de Hooch, c. 1663 - c. 1665
oil on canvas, h 60cm × w 45.7cm

In his Delft period, De Hooch turned to a new subject, namely brightly lit figures in a back garden. The people depicted in this scene seem somewhat out of place and could just as easily be found in a dimly lit tavern. Seduction is in the air. The galant (or suitor) casts a flirtatious glance at the girl squeezing the juice of a lemon into her glass.

Woman Reading a Letter, Johannes Vermeer, c. 1663
oil on canvas, h 46.5cm × w 39cm × d 6.5cm

Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. She is still wearing her blue night jacket. All of the colours in the composition are secondary to its radiant lapis lazuli blue. Vermeer recorded the effects of light with extraordinary precision. Particularly innovative is his rendering of the woman’s skin with pale grey, and the shadows on the wall using light blue.

The Milkmaid, Johannes Vermeer, c. 1660
oil on canvas, h 45.5cm × w 41cm

A maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting ? the woman stands like a statue in the brightly lit room. Vermeer also had an eye for how light by means of hundreds of colourful dots plays over the surface of objects.

The Love Letter, Johannes Vermeer, c. 1669 - c. 1670
oil on canvas, h 44cm × w 38.5cm

Vermeer chose an unusual vantage point for this painting. From a dim space in the foreground, a glimpse is afforded of another room with a domestic scene. An elegantly dressed woman looks up expectantly at a maidservant, who has just handed her a letter. The seascape on the wall behind them may well allude to the epistle’s subject: during the 17th century, the sea was often compared to love, and the lover to a ship.

Portrait of a Girl Dressed in Blue, Johannes Cornelisz. Verspronck, 1641
oil on canvas, h 82cm × w 66.5cm

Why is this portrait so popular? Because it depicts an adorable child dressed in her Sunday best? As was the custom of the day, the young girl is portrayed as a small adult lady. That she is playing a role is betrayed only by her facial expression. Unfortunately, we know nothing about her identity or her family. Perhaps she resided in Haarlem, like the portraitist Verspronck.

Children Teaching a Cat to Dance, Known as ‘The Dancing Lesson’, Jan Havicksz. Steen, 1660 - 1679
oil on panel, h 68.5cm × w 59cm

These children are up to mischief: they are teaching a cat to dance to the music of a shawm, a 17th-century wind instrument. While they are clearly enjoying them-selves, the cat screeches in protest, joined by a barking dog. The old man at the window angrily rebukes the children: should they not be learning something rather than giving dancing lessons to a cat?

View of Houses in Delft, Known as ‘The Little Street’, Johannes Vermeer, c. 1658
oil on canvas, h 54.3cm × w 44cm × d 9cm

This is an unusual painting in Vermeer’s oeuvre, and remarkable for its time as a portrait of ordinary houses. The composition is as exciting as it is balanced. The old walls with their bricks, whitewash, and cracks are almost tangible. The location is Vlamingstraat 40?42 in Delft. Vermeer’s aunt Ariaentgen Claes lived in the house at the right, with her children, from around 1645 until her death in 1670.

The Trading Post of the Dutch East India Company in Hooghly, Bengal, Hendrik van Schuylenburgh, 1665
oil on canvas, h 203cm × w 316cm

This canvas was commissioned by Pieter Sterthemius, director of the Hooghly trading post. The scene bustles with activity. Dutch East Indiamen navigate the Ganges River, the director of the trading post visits an Indian dignitary, and at the upper right an act of religious self-castigation is taking place: a man is suspended from a hook in his ribs and spun around a pole.

Portrait of a Young Lady, Isaack Luttichuys, 1656
oil on canvas, h 99cm × w 82cm

This painting remained in the De Wildt family until 1930, which most likely explains why it is still in its original frame. This gilt frame is carved with Auricular decoration. Winding along and through the organic shapes is a festoon of flowers ? roses and tulips ? that ends in a sunflower on the bottom rail.

Still Life with Asparagus, Adriaen Coorte, 1697
paper, h 25cm × w 20.5cm

Coorte produced mostly small, intimate still lifes. Through their simple subjects ? asparagus or berries ? these modest paintings stand out in stark contrast to the sumptuous still lifes that were in fashion at the time. While the aim of those works was to present a superabundance of costly objects and foodstuffs, here attention is focused on the refined rendering of a single vegetable.

The Sick Child, Gabriël Metsu, c. 1664 - c. 1666
oil on canvas, h 32.2cm × w 27.2cm

In 1663 the plague raged throughout Amsterdam, killing one in ten citizens. Dating from around this time is Metsu’s poignant portrayal of a sick child, rendered in powerful, bright colours against a grey background. The scene is reminiscent of a pieta, a representation of the Virgin Mary holding her son’s dead body in her lap. The painting of the Crucifixion on the back wall also recalls Christ’s suffering.