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Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP

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Zeitschriftentitel: Oud Holland
Personen und Körperschaften: POENSGEN, GEORG
In: Oud Holland, 41, 1924, S. 116-135
Format: E-Article
Sprache: Deutsch
veröffentlicht:
Vereenigde Drukkerijen Roeloffzen-Hübner & Van Santen En Gebr. Binger
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rft.atitle Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
rft.epage 135
rft.genre article
rft.issn 0030-672X
1875-0176
rft.jtitle Oud Holland
rft.tpages 19
rft.pages 116-135
rft.pub Vereenigde Drukkerijen Roeloffzen-Hübner & Van Santen En Gebr. Binger
rft.date 1924-01-01
x.date 1924-01-01T00:00:00Z
rft.spage 116
rft.volume 41
abstract <p>The Amsterdam painter, Arent Arentsz., nicknamed "de Cabel", who was born in 1585 and died previous to the year 1635, was one of that generation of artists, who, at the commencement of the 17 th century, by their work, laid the foundations of the greatest epoch in Dutch painting. He had but a scant choice of subjects: hunters, fishermen and peasants, engaged in their handicraft, or skaters enjoying the ice. One may recognize this artist's style from the following characteristics : his figures are large and awkward, but, considered separately, they are never out of proportion, or badly sketched ; on the contrary, they show that the component parts of the human body are depicted with the utmost care, and precision. And in the same way as the component parts of each figure, together show one single form, in the same manner each painting, as a whole, consists of a series of single figures. These figures are sub≈divided into depths of various planes of his landscapes: these, however, are unconnected in respect to motives, and dimensions, but the figures in them harmonise with those in other planes, achieved by different graduations in size. In addition to the ordinary enlargement of the figures from background to foreground, producing the impression of proximity, and distance, we also perceive an accentuation of grouping, colouring, and lastly, of movement. This latter method, attained by the fact that one figure always continues the action of the adjoining one, (or, on the contrary, precedes that action) is of especial interest. Thus, with a small degree of imagination, the observer will find it quite easy to regard the combined action as one continuous movement. This is the reason why the impression, made by Arentsz's work, is never monotonous or fatiguing. His paintings are often mistaken for, or connected with, those of Hendrik Avercamp, but Avercamp's pictures are in quite a different style. Where Arentsz leads the observer's gaze from one point to another, in order finally to demonstrate a general view of the whole subject, Avercamp, on the other hand, primarily endeavours to portray the completed work, with the secondary purpose of showing the details that are in harmony with it, and aid in enlivening it. Working in this style, Avercamp is more in unison with the heroic manner of land≈scape painting, which, under the guidance of his Flemish master, Gillis van Conninxloo, and others, who at that period were expelled from Flanders, owing to their Protestant religion, was transported to Holland, as an inheritance from Pieter Breughel. In none of his paintings, however, does Arent Arentsz show signs of any similar influence ; in the development of the art of painting in the 17 th century, he is characterized as one of the first pure Dutch artists.</p>
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author POENSGEN, GEORG
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description <p>The Amsterdam painter, Arent Arentsz., nicknamed "de Cabel", who was born in 1585 and died previous to the year 1635, was one of that generation of artists, who, at the commencement of the 17 th century, by their work, laid the foundations of the greatest epoch in Dutch painting. He had but a scant choice of subjects: hunters, fishermen and peasants, engaged in their handicraft, or skaters enjoying the ice. One may recognize this artist's style from the following characteristics : his figures are large and awkward, but, considered separately, they are never out of proportion, or badly sketched ; on the contrary, they show that the component parts of the human body are depicted with the utmost care, and precision. And in the same way as the component parts of each figure, together show one single form, in the same manner each painting, as a whole, consists of a series of single figures. These figures are sub≈divided into depths of various planes of his landscapes: these, however, are unconnected in respect to motives, and dimensions, but the figures in them harmonise with those in other planes, achieved by different graduations in size. In addition to the ordinary enlargement of the figures from background to foreground, producing the impression of proximity, and distance, we also perceive an accentuation of grouping, colouring, and lastly, of movement. This latter method, attained by the fact that one figure always continues the action of the adjoining one, (or, on the contrary, precedes that action) is of especial interest. Thus, with a small degree of imagination, the observer will find it quite easy to regard the combined action as one continuous movement. This is the reason why the impression, made by Arentsz's work, is never monotonous or fatiguing. His paintings are often mistaken for, or connected with, those of Hendrik Avercamp, but Avercamp's pictures are in quite a different style. Where Arentsz leads the observer's gaze from one point to another, in order finally to demonstrate a general view of the whole subject, Avercamp, on the other hand, primarily endeavours to portray the completed work, with the secondary purpose of showing the details that are in harmony with it, and aid in enlivening it. Working in this style, Avercamp is more in unison with the heroic manner of land≈scape painting, which, under the guidance of his Flemish master, Gillis van Conninxloo, and others, who at that period were expelled from Flanders, owing to their Protestant religion, was transported to Holland, as an inheritance from Pieter Breughel. In none of his paintings, however, does Arent Arentsz show signs of any similar influence ; in the development of the art of painting in the 17 th century, he is characterized as one of the first pure Dutch artists.</p>
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spelling POENSGEN, GEORG 0030-672X 1875-0176 Vereenigde Drukkerijen Roeloffzen-Hübner & Van Santen En Gebr. Binger https://www.jstor.org/stable/42717979 <p>The Amsterdam painter, Arent Arentsz., nicknamed "de Cabel", who was born in 1585 and died previous to the year 1635, was one of that generation of artists, who, at the commencement of the 17 th century, by their work, laid the foundations of the greatest epoch in Dutch painting. He had but a scant choice of subjects: hunters, fishermen and peasants, engaged in their handicraft, or skaters enjoying the ice. One may recognize this artist's style from the following characteristics : his figures are large and awkward, but, considered separately, they are never out of proportion, or badly sketched ; on the contrary, they show that the component parts of the human body are depicted with the utmost care, and precision. And in the same way as the component parts of each figure, together show one single form, in the same manner each painting, as a whole, consists of a series of single figures. These figures are sub≈divided into depths of various planes of his landscapes: these, however, are unconnected in respect to motives, and dimensions, but the figures in them harmonise with those in other planes, achieved by different graduations in size. In addition to the ordinary enlargement of the figures from background to foreground, producing the impression of proximity, and distance, we also perceive an accentuation of grouping, colouring, and lastly, of movement. This latter method, attained by the fact that one figure always continues the action of the adjoining one, (or, on the contrary, precedes that action) is of especial interest. Thus, with a small degree of imagination, the observer will find it quite easy to regard the combined action as one continuous movement. This is the reason why the impression, made by Arentsz's work, is never monotonous or fatiguing. His paintings are often mistaken for, or connected with, those of Hendrik Avercamp, but Avercamp's pictures are in quite a different style. Where Arentsz leads the observer's gaze from one point to another, in order finally to demonstrate a general view of the whole subject, Avercamp, on the other hand, primarily endeavours to portray the completed work, with the secondary purpose of showing the details that are in harmony with it, and aid in enlivening it. Working in this style, Avercamp is more in unison with the heroic manner of land≈scape painting, which, under the guidance of his Flemish master, Gillis van Conninxloo, and others, who at that period were expelled from Flanders, owing to their Protestant religion, was transported to Holland, as an inheritance from Pieter Breughel. In none of his paintings, however, does Arent Arentsz show signs of any similar influence ; in the development of the art of painting in the 17 th century, he is characterized as one of the first pure Dutch artists.</p> Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP Oud Holland
spellingShingle POENSGEN, GEORG, Oud Holland, Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title_full Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title_fullStr Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title_full_unstemmed Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title_short Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
title_sort arent arentsz: (genannt cabel) und sein verhältnis zu hendrik avercamp
title_unstemmed Arent Arentsz: (genannt CABEL) und sein Verhältnis zu HENDRIK AVERCAMP
url https://www.jstor.org/stable/42717979