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Lid of a harpsichord, Gerard van der Horst (copy after), c. 1625 - c. 1650

  • Дата создания1650
  • Размеры85.0 x 162.0 cm

Explore Gerard van der Horst's captivating paintings & drawings! Known for bold colors, intricate details & geometric abstraction inspired by Dutch Masters. Discover his work at the Rijksmuseum & beyond.

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Like several other harpsichord lids in the Rijksmuseum’s collection, this one dates from the first half of the 17th century.3 The subject of a dismounted horseman urinating in a landscape with a dilapidated tower is not the most obvious one for decorating a musical instrument. Landscapes were quite often painted on harpsichords, but usually they contain allusions to music, even if only in the form of a huntsman with a horn.4 The lid is listed as a work from the circle of Jan van de Velde II in the museum’s 1976 catalogue.5 The coarse execution has little to do with Van de Velde, but the composition does turn out to be derived from an example from his workshop. The large landscape was taken integrally from a print in a five-part suite that Van de Velde made after designs by Gerard van der Horst.6 The composition is reversed relative to the print, and since there are no known copies of the entire scene,7 the anonymous painter either used Van der Horst’s original drawings or, and this is more likely, reversed the scene to make it fit the shape of the lid of the harpsichord. There is no connection between the landscape on the small panel and the print series after Van der Horst, but it too is probably based on a print. The suite after designs by Van der Horst was published in a second state by Claes Jansz Visscher in 1628. The lid of the harpsichord would have been painted in the second quarter of the 17th century. It is not clear whether that was done in the southern Netherlands, where there was a flourishing tradition of harpsichord building, or in the northern Netherlands.8 Gerdien Wuestman, 2007 See Bibliography and Rijksmuseum painting catalogues See Key to abbreviations and Acknowledgements This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 151.

Биография художника

Introduction: A Voice from the South

Kerry James Marshall (born October 17, 1955) is a towering figure in contemporary American art, an artist whose work has profoundly reshaped our understanding of representation and identity. Born in Birmingham, Alabama, during the height of the Civil Rights Movement, Marshall’s life and artistic vision are inextricably linked to the experiences of Black Americans, particularly those rooted in the traditions and landscapes of the Southern United States. His paintings, drawings, and sculptures aren't merely depictions; they are powerful statements—a deliberate counter-narrative challenging historical invisibility and asserting a vital presence within the canon of Western art. Marshall’s career has spanned decades, marked by consistent innovation and an unwavering commitment to exploring themes of race, history, and social justice, solidifying his place as one of the most important artists of our time.

Early Life and Influences – Roots in Birmingham and Los Angeles

Marshall's childhood was shaped by significant events and formative relationships. Growing up in Birmingham during a period of intense racial tension instilled within him a deep awareness of social inequality and injustice. His father, a postal worker, and his mother, a homemaker, fostered an appreciation for the arts, exposing him to music, poetry, and museum visits from a young age. A pivotal moment occurred when he moved with his family to Los Angeles in 1963, coinciding with the Watts riots – an event that profoundly impacted his worldview and fueled his desire to depict Black life authentically. Crucially, Marshall’s early artistic development was nurtured by Charles White, a prominent social realist painter who recognized Marshall's talent and mentored him during high school. White’s influence is evident in Marshall’s meticulous attention to detail, his ability to capture the nuances of human expression, and his commitment to portraying Black figures with dignity and complexity. The Gullah dialect, spoken by his grandmother, also became a significant element in his work, informing his visual language and connecting him to a rich cultural heritage.

The Development of Style – From Abstract Expressionism to Narrative Realism

Marshall’s artistic journey began within the context of Abstract Expressionism, a movement that dominated the art world in the 1950s and 60s. Initially influenced by artists like Mark Rothko and Barnett Newman, Marshall experimented with color fields and gestural abstraction. However, he soon recognized the limitations of this approach for his specific artistic goals – to represent Black subjects with accuracy and immediacy. He deliberately moved away from purely abstract forms, adopting a style that he termed “narrative realism.” This involved meticulously recreating scenes from everyday life—fishing trips, family gatherings, church services—depicting Black men and women in their natural environments, often against the backdrop of the American South. His paintings are characterized by a remarkable level of detail, achieved through painstaking observation and a deep understanding of composition and perspective. Marshall’s technique is rooted in traditional academic painting methods, but he subverts these conventions to create images that are both visually striking and emotionally resonant.

Key Themes and Recurring Motifs – History, Identity, and the Black Experience

Marshall's work consistently grapples with complex themes related to race, history, and identity. He confronts the historical erasure of Black figures from art history by creating a “counter-archive”—a collection of images that redress this imbalance. His paintings often depict scenes from the lives of ordinary Black people, challenging stereotypical representations and offering nuanced portraits of their experiences. Recurring motifs include fishing—a symbol of resilience and self-sufficiency—family gatherings—representing community and kinship—and landscapes—reflecting the connection between Black people and the land. Marshall’s work is not simply about depicting these subjects; it's about giving them agency, visibility, and a voice within the dominant narrative. He frequently references historical paintings, subtly altering their compositions and subject matter to highlight the absence of Black figures in traditional representations of Western culture.

Legacy and Recognition – A Lasting Impact on Contemporary Art

Kerry James Marshall’s impact on contemporary art is undeniable. His work has been exhibited extensively around the world, including retrospectives at major museums such as the Museum of Contemporary Art Chicago, The Metropolitan Museum of Art, and the Royal Academy of Arts in London. He has received numerous awards and honors, including a MacArthur Fellowship (often referred to as a “genius grant”), recognizing his exceptional artistic achievements. In 2017, he was included on *Time* magazine’s list of the 100 most influential people in the world. Beyond his individual accomplishments, Marshall's work has inspired countless artists and scholars, contributing significantly to ongoing conversations about representation, identity, and social justice. His legacy extends beyond the art world, serving as a powerful reminder of the importance of acknowledging and celebrating diverse voices and experiences. He continues to be an influential figure, shaping the dialogue surrounding race, history, and art for generations to come.
gerard van der horst

gerard van der horst

1955 - , Netherlands

Основные сведения

  • Artistic Movement Or Style: Abstract Expressionism
  • Artists Or Movements Influenced By This Artist: ['Social Realism']
  • Artists Who Influenced This Artist: ['Charles White']
  • Date Of Birth: October 17, 1955
  • Full Name: Kerry James Marshall
  • Nationality: American
  • Notable Artworks:
    • A Bass Player
    • The Small House of the Big Man
    • Pastimes
    • Untitled (Black Figure)
  • Place Of Birth: Birmingham, Alabama