POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,
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POTTER, Paulus bull oil painting


bull
Date 1647 Medium Oil on canvas Dimensions 235.5 X 339 cm (92.72 X 133.46 in) cyf
Painting ID::  74302 		POTTER, Paulus
bull
Date 1647 Medium Oil on canvas Dimensions 235.5 X 339 cm (92.72 X 133.46 in) cyf
   
   
     
POTTER, Paulus Hirtenjunge und Hirtenmadchen oil painting


Hirtenjunge und Hirtenmadchen
1650(1650) Medium Oil on panel Dimensions 39 x 59,8 cm cyf
Painting ID::  81155 		POTTER, Paulus
Hirtenjunge und Hirtenmadchen
1650(1650) Medium Oil on panel Dimensions 39 x 59,8 cm cyf
   
   
     
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     POTTER, Paulus
     Dutch Baroque Era Painter, 1625-1654 Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape,

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