|
|
|
| |
|
100% hand painted, 100% cotton canvas,
100% money back if not satisfaction.
|
|
|
|
|
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,
|
|
A_geschecktes_horse
|
|
mk178_
1653_oils_on_linen_
60.5x41cm
|
|
|
|
|
Click to Enlarge
|
| POTTER,_Paulus
|
A geschecktes horse
mk178
1653 oils on linen
60.5x41cm
Painting ID:: 45902
|
|
|
|
|
|
| mk178
1653 oils on linen
60.5x41cm |
|
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,
|
|
|
|
ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
|
|
|
|
