Koje teme istražuje Cheating at Cards, Jan Miense Molenaer, c. 1650 - 1668?

people, figures, dog, table, chair, room

Kupite giclee reprodukciju Cheating at Cards, Jan Miense Molenaer, c. 1650 - 1668

Opis umetničkog dela

After the mid-1640s Jan Miense Molenaer began to focus increasingly on compositions with merrymaking peasants that were heavily influenced by Adriaen Brouwer and Isack and Adriaen van Ostade.10 As in the Rijksmuseum Cheating at Cards, the palette in these works is largely tonal and the small-scale figures are set in large barn-like spaces. These interiors most resemble those in paintings by Adriaen van Ostade from the first half of the 1640s,11 while the man passed out on a barrel is probably derived from Brouwer’s Slaughter Feast in Schwerin,12 and the gnarly drunk seen in profile wearing a red scarf on his head resembles other figures by that Flemish artist.13 With the exception of a few highly animated and quite colourful pictures teeming with more meticulously rendered figures from around 1659-62, the quality of Molenaer’s later production is mediocre, as evidenced by the present panel.14 The lack of dated paintings and the repetition of motifs, such as the man slumped over a barrel,15 makes it difficult to establish a chronology for Molenaer’s work in the latter part of his career, and a more specific indication than the 1650s or 1660s for this scene cannot be given. The subject, card playing, was already popular with artists in the Middle Ages, and in the 1520s was depicted by Lucas van Leyden and his followers.16 The Utrecht Caravaggisti were the first seventeenth-century Dutch painters to employ it. Molenaer treated the theme in one of his earliest known works, Card Players by Lamplight of around 1627-28,17 and it would remain a favourite throughout his career. In the Rijksmuseum painting, as in his earliest one of card players and another work of around 1634-35,18 an old peasant is being cheated out of his money by a figure holding a mirror behind him, revealing his cards to his opponent. This motif had already been used in the northern Netherlands by Dirck van Baburen.19 As in Molenaer’s early output as well, a figure (or figures in the case of the present one) looks out of the picture and encourages the viewer’s complicity in the swindle. The young woman is also showing us the five cards in her hand, which includes a high one, the ace of clubs.20 Whereas the old peasant’s opponents in Molenaer’s earliest treatments of the subject are dandified soldiers, here he is being cheated by members of his own social and economic class. In keeping with the low status of the company and the humble space they occupy the score is being marked with chalk directly on the table, rather than on a slate, as in a more gentrified interior with card players by Jan Steen, for example.21 As in Steen’s painting, though, the chalk in Molenaer’s was probably also intended as an allusion to the Dutch sayings ‘in het krijt staan’ (literally ‘to be in the chalk’: to be in the red) and ‘met dubbel krijt schrijven’ (literally ‘to write with a double chalk’: to charge double).22 Card playing had a bad reputation in the seventeenth century and was attacked by moralists and discouraged by the civic authorities.23 Among the vices with which the pastime was related are excessive drinking and idleness. Molenaer also made these associations in the present painting. Two of his peasants are holding glasses, which one of them appears about to replenish from a rather large jug. Idleness is embodied in the slouched figure in the left foreground and the man behind him who has fallen asleep on a barrel. Jonathan Bikker, 2022 See Key to abbreviations, Rijksmuseum painting catalogues and Acknowledgements

Srodna umetnička dela

Biografija umetnika

Intimni svet holandskog majstora

Jan Miense Molenaer, ime koje se s poštovanjem izgovara među maestrina holandskog zlatnog doba, budi slike porodične topline i živopisne ljudske interakcije. Rođen u Haarlemu 1610. godine, njegov život se odvijao unutar bogatog tapiserije holandskog društva 17. veka. Molenaer nije bio samo hroničar scena; bio je posmatrač koji je posedovao neverovatnu sposobnost da uhvati prolazne trenutke svakodnevnog postojanja. Njegov umetnički put obeležen je razvojem stila koji je u početku odjekivao ranim sjajem Frensa Halsa, sugerišući majstorstvo u dočaravanju spontanog pokreta. Ipak, kako je njegova karijera sazrevala, njegova ruka je počela da teži suptilnijem dijalogu sa atmosferskom dubinom koja je bila karakteristična za Adrijena van Ostadea.

Slikar žanra i duha

Njegov genije pronašao je svoj najizražajniji izraz u žanskoj sceni — prikazivanju običnog života uzdignutom u visoku umetnost. Molenaerova platna prožeta su opipljivim osećajem intimnosti; čovek ima utisak kao da je sam vazduh unutar slike topao i mirisan na muziku ili zajednički smeh. Bilo da su u pitanju muzičari okupljeni radi energičnog nastupa, kao što se vidi u delima poput The Music Makers, ili tiho zajedništvo porodičnog života, njegove teme poseduju neporecivu vitalnost. Ove scene odlikuje detaljan realizam koji izbegava idealizaciju, čvrsto usidnjujući posmatrača u opipljiv svet Harlema. Štaviše, njegova povezanost sa Judit Lejster, koja je delila prostor sa njim u studiju i bila sama slavna žanrska slikarka i portretistkinja, govori o živopisnom umetničkom krugu u kojem je talenat cvetao kroz saradnju.

Tehnika i trajni uticaj

Molenaerova tehnička veština ležala je u njegovom majstorskom rukovanju bojom i kompozicijom. On nije gradio scene samo bojom, već i emocionalnim odjekom, stvarajući kompozicije koje deluju istovremeno strukturirano i potpuno spontano. Njegova sposobnost da jednostavne kućne trenutke prožme takvom dubinom je izuzetna. Iako se neke od njegovih tema dotiču biblijskih narativa, upravo je slavljenje ljudske povezanosti — zajednički ritam muzike ili gest uhvaćen u delu kao što je La Main Chaude (Handjeklap) — ono što definiše njegov neprolazni šarm. Odjeci njegove tehnike snažno odjekuju kroz naredne generacije; umetnici poput Jana Steena i Gerarda ter Borcha jasno su upili lekcije iz Molenaerovog nijansiranog pristupa svetlosti i ljudskoj psihologiji, učvrstivši njegovo mesto ključne figure čiji je stil pomogao u definisanju zenita holandskog slikarstva.

Nasleđe urezano u platno

Radove koji se pripisuju Janu Minesu Molenaeru nastavljaju da privlače obožavatelje širom kontinenata. Od cenjenih kolekcija smeštenih u Kraljevskoj galeriji Mauritshuis do Rijksmuseuma, njegove slike služe kao živi portali u prošlo doba. One nas pozivaju ne samo da posmatramo umetnost, već da učestvujemo u njoj — da slušamo muziku, da osetimo toplinu okupljanja. Njegovo nasleđe je ono dubokog posmatranja: dokaz da se najmonumentalnija umetnost često može pronaći u delikatnoj lepoti običnog trenutka.

Jan Miense Molenaer

1610 - 1668 , Holandija

Osnovne informacije

Artistic Movement Or Style: Slikarstvo holandskog zlatnog doba
Artists Or Movements Influenced By This Artist:
- Jan Stin
- Gerard ter Borh
Artists Who Influenced This Artist:
- Frans Hals
- Adrijan van Ostade
Date Of Birth: 1610
Date Of Death: 1668
Full Name: Jan Miense Molenaer
Nationality: Holandski
Notable Artworks:
- Muzičari
- Duet
- Porodica koja svira muziku
- La Main Chaude
Place Of Birth: Harlem, Holandija

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