![]() ![]() Leyster's treatment here is a noted innovation of self-portraiture as, in effect, she is marketing her brand, as the musician depicted here is copied from her most popular work The Happy Couple (1630). Here she innovatively compares the arts of music and painting in the echoing diagonals of the musician's bow and the painter's brush, while her use of cropping makes the painting seem almost as spontaneous as a snapshot. The painting within a painting further emphasizes Leyster's self-presentation as a masterful painter of genre works. On the easel to the right, an animated musician dressed in blue, is playing a violin and singing along. The diagonal of her torso as she turns, the play of light suggesting movement in her lace collar and her sleeve, and her facial expression, lips open as if beginning to smile, create a sense of lively immediacy. This self-portrait shows the artist at her easel, turning in mid-stroke, with brush in hand to face the viewer. Robert Henri, part of the American group, the Eight, went to Haarlem to study Hals' work whose influence is apparent in Henri's Dutch Girl in White (1907). Hals' rough style had a noted influence on later artists of the Realist movement, including Courbet and Manet, and of the Impressionist movement, including Monet and Mary Cassatt. As art critic Roberta Smith wrote, "Mostly through cropping and enlargement, these works elevate genre painting into a form of clear-eyed portraiture.and in their sense of motion they sometimes presage the modern snapshot." Other Dutch painters of the era, including David Bailly and Jan Steen, as well as the 19 th century Adrian de Lelie, copied this work or incorporated aspects of it. His work transformed the genre that was introduced by Dirck van Buburen, as his figures moved realistically, caught in the midst of action. Frans Hals' painting technique, dubbed the "rough style," was innovative, as he used quick loose brushwork to create energetic movement. The red and black pattern of his jester's costume, marked by prominent yellow buttons, adds to the festive and entertaining air, while the clear light lends to the sense of immediacy. The player seems to be in mid-movement, his right hand strumming the strings, his left fingering a chord on the neck, as he cocks his head sideways, smiling. The lute's intricately carved sound hole centers the lower half of the canvas, while the diagonal created by its neck extending out of the cropped frame conveys a sense of movement. This genre piece depicts a lute player, his body turned toward the viewer, while he saucily looks to his left. This dominant element of Dutch art developed into a number of subtypes of which floral still life, presented with scientific accuracy, was the most popular. The stilleven, or still life surged in popularity, utilized to imaginatively express both objects of beauty and the philosophical climate of the times through carefully composed arrangements and groupings.Subjects ranging from lavish breakfast tables to group portraits to moments of merriment and little trifles helped establish an artistic document of the period. Genre painting experienced a magnificent evolution, with multiple creative sub-genres birthing a distinct look at the contemporary lifestyle, trends, and interests of the Dutch people of the time.Many of these scenes were based on central "heroic" elements indigenous to the area such as a tree, windmill, or cloud-filled sky. Landscape painting exploded during the Dutch Golden Age, bringing with it an emphasis upon the unique characteristics of Dutch landscape features, villages, and rural life connected with a rising esteem for Dutch values.As a result, some scholars have referred to Dutch Golden Age painting as Dutch Realism. ![]() Art too took on independent directions, developing an emphasis on secular subjects, depicted not with Catholic grandeur, but emphasizing ordinary human life and realistic treatments. The Dutch Reformed church and a rising sense of Dutch nationalism informed the Golden Age.
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