Cornelis Pietersz. Bega

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Cornelis Bega (self-portrait)
Cornelis Bega: prayer before the meal.

Cornelis Pietersz. Bega (* 1631 or 1632 in Haarlem ; † August 27, 1664 probably from the plague ) was a Dutch baroque painter and etcher .

Life

Cornelis Bega was the son of the sculptor and goldsmith Pieter Jansz. Begijn († 1648). His mother Maria came from a wealthy family of painters and was the daughter of the Haarlem artist Cornelis van Haarlem and his wife Marietje Deyman. Cast off by his father because of his careless way of life, which is why he took the name Bega, he was later a pupil of Adriaen van Ostade .

Like his teacher van Ostade, he preferred to paint genre pictures . These have scenes from the so-called lower circles of popular life, namely from inns and peasant societies, drinkers, smokers, alchemists, astrologers and the like. The 34 etchings he knows deal with the same material as his paintings.

Among other things, he also etched in copper. The well-known sheets he executed include: The tavern, The farmhouse with eight farmers, The farmer at the window (completed entirely with the cold needle) and The young landlady with two old farmers .

From 1653 to 1654 he traveled through Germany , Switzerland and France together with the artists Dirck Helmbreker , Vincent van der Vinne and Guillam Dubois . In 1654 he joined the Guild of Luke in his hometown of Haarlem. At the beginning of the 1650s Bega must have been friends with the Haarlem artist Leendert van der Cooghen , who portrayed him several times. After 1660 his paintings became more colorful and focused more on details and textures.

Bega's pictures can be found in almost all major European galleries, for example in the Louvre in Paris , in the Rijksmuseum in Amsterdam , in Munich , Saint Petersburg or Dresden and Berlin .

Works (selection)

  • Self-portrait , ca.1649/50. Oil sketch on paper, 187 × 172 mm. Inscription lower right: “This is Het Conterfeijsel van Kornelis Begga van Hem is portrayed”. Private collection.
  • Nursing mother with children , 1652. Black chalk, very little brown ink, on brownish paper, 181 × 232 mm. Signed and dated lower right: Cor. Begga 1652 . Verso: the stamp of the Städelsche Kunstinstitut (Lugt 2356) on the left. Frankfurt am Main, Städel Museum , inv. No. 748.
  • Portrait of Leendert van der Cooghen with a large hat , ca.1653 / 54. Black chalk on parchment, 113 × 94 mm. Inscription in black chalk top left and right in the oval margin: Cornelus Bega. Pitor / Harlemensis . Verso: by a later hand, probably around 1800: "het Portrait van Cornelis Bega door hem Zelfs" and, barely legible, lower right: 1789 . London, The British Museum , inv. No. 1836.0811.812.
  • Double portrait of Leendert van der Cooghen and Cornelis Bega , 1654. Black chalk, gray wash, 329 × 242 mm. Amsterdam, Rijksprentenkabinet , inv . No. RP-T-1940-511.
  • Self-portrait with beret , ca.1654 / 55. Red chalk and black chalk, 261 × 216 mm. Leiden, University Library, Prentenkabinet, Inv.-No. PK-T-AW-264.
  • The classroom , approx. 1652–54. Brown ink, gray and brown wash on black chalk and / or pencil, 171 × 278 mm. Signed, center left, in brown ink: c.bega . Boston, Maida and George Abrams Collection, Fogg Art Museum, Harvard University, Cambridge (Massachusetts), inv. No. 1999.126.
  • Mother with sleeping child , approx. 1654–58. Black chalk with white heightening on blue paper, 145 × 110 mm. Verso: Sketch of a standing man with a sack on his back, later inscription in pencil: C Bega / es - and JOL / 5-o VO / 165 f 7.5000 - . Private collection.
  • Farmer's parlor with mother and children , 1654. Brown pen, brown wash over black chalk; Edging lines (pen in brown), 172 × 146 mm. Recto: collector's mark Esdaile (Lugt 2617). Verso: Inscription with pen in brown by Esdaile: 1834 WE (entwined), 120 x, Bega and, also with pen in brown, by Ploos van Amstel (Lugt 3004): h: 7d / b: 6d [difficult to read, because partially overwritten by Esdaile]. Hamburg, Hamburger Kunsthalle , inv. No. 21684.
  • Tavern scene , approx. 1654/55. Oak, 38 × 33.5 cm. Signed lower right on the stick: bega . Mainz, State Museum , inv. No. 102.
  • Dance in the village tavern , approx. 1655. Oak, 46.5 × 44.5 cm. Signed lower left of the center: cbega . Dresden, State Art Collections Dresden , Old Masters Picture Gallery, gallery no. 1476.
  • Musicians in front of the inn , approx. 1655. Oak, 35 × 32.5 cm. Signed lower right: cBega (cB in each other). Haarlem, Frans Hals Museum , inv. No. OS I-9.
  • Pig slaughter in the backyard , ca.1655 / 56. Copper, 32.9 × 39.8 cm. Signed lower right: c bega . USA, private collection.
  • Tavern with peasants playing cards , approx. 1655/56. Oak, 35.5 × 57 cm. Signed lower left: Co. Bega . Boston, Maida and George Abrams Collection.
  • House visit by the shoemaker , approx. 1656–58. Oak, 34.5 × 42 cm. Cologne, Wallraf-Richartz-Museum, inv. No. 2567 (as a "family scene").
  • Peasants in the tavern , approx. 1658. Red chalk, graphite pencil in places, 150 × 159 mm. Verso center, in red chalk: Bega / 1/6 ; lower left: 5.11 / 5.9 (pencil), below by another hand: N 94 (pencil and graphite pencil, difficult to see). Watermark: part of a fool's cap. Hamburg, Hamburger Kunsthalle, inv. No. 21685.
  • Tavern scene with a smoking child , approx. 1658. Monotype in brown, oily paint, 258 × 236 mm. Dresden, Dresden State Art Collections, Kupferstich-Kabinett, Inv.-No. C 1904-51.
  • Two farmers in conversation with a landlady , approx. 1658–60. Monotype in brown, oil-containing paint, reworked with a brush in gray-brown, 237 × 223 mm. Stamp of the Van Haecken collection lower left (Lugt 2516). Hamburg, Hamburger Kunsthalle, inv. No. 21686.
  • Peasant family with children in an inn , approx. 1658–60. Black chalk on parchment, 261 × 238 mm. Signed lower right in black chalk: cbega . Lower right collector's stamp of the Albertina (Lugt 174). Vienna, Albertina , inv. No. 9156.
  • The old landlady , around 1660. Black chalk and traces of red chalk, with framing lines, 181 × 139 mm. (Later) monogram lower right in pen and brown ink: AB [probably referring to Adriaen Brouwer]. Adelaide, Art Gallery of South Australia , Inv.-No. 965D33.
  • Seated boy with hat , c. 1658–60. Red chalk, 220 × 178 mm. Verso: Study of a dressed right upper amr with shoulder and a sketch of two men at a work table (both drawings in red chalk). Also on verso: inscription in brown ink: N ° 319 and again in pencil at the bottom left: 319 [inventory number Goll van Frankenstein collection] and collector's mark Lugt 2228 (Rijksbaninet Amsterdam) as well as in pencil: C. Bega . Amsterdam, Rijksprentenkabinet, inv. No. RP-T-1880-A-86.
  • Seated young man , approx. 1660–62. Red chalk, 217 × 177 mm. Signed lower left in red chalk: c. bega . Watermark: coat of arms of Amsterdam. Private collection.
  • Tavern scene with violin player , 1660. Oak, 41 × 35 cm. Signed and dated lower left in brown: c Bega 1660 . Private collection.
  • Tavern scene with a peasant couple , approx. 1660. Oak, 34.5 × 31.5 cm. Signed lower left in brown: c bega . Sweden, private collection.
  • Tavern scene , approx. 1660/61. Oak, 36.2 × 32.7 cm. Not signed. Luxembourg, Villa Vauban , Musée d'Art de la Ville de Luxembourg, Inv.-No. 18th
  • Tavern scene , about 1660-62. Canvas, 29.7 × 23.6 cm. Frankfurt am Main, Städel Museum, inv. No. 1233.
  • Sleeping woman , c. 1660. Black chalk on blue paper, heightened with white, 166 × 144 mm. Signed lower left: c. bega . Verso: inscription lower left in brown ink C.Bega , collector's marks Städelsches Kunstinstitut (Lugt 2356) and (presumably) Christian Gottlieb Crusius (Lugt 548) on a blue note stuck on in the lower left corner, also in brown inte I [.. .] l8: gl: and [...] 579 . Frankfurt am Main, Städel Museum, inv. No. 5706.
  • Standing man from the back , approx. 1660. Red chalk, 250 × 153 mm. Inscription [trimmed?] In red chalk lower right: C. BE . Verso: collector's stamps from Dr. Albert Welcker (Lugt 2793 c) and Dr. Curt Otto (peeps 611 c) [reportedly the sheet is glued]. Leiden, University Library, Prentenkabinet, Inv.-No. PK-T-AW-262.
  • Seated woman with a jug (The Milkmaid) , ca.1660–62. Red chalk on polished paper, 258 × 190 mm. Watermark: “Foolscap with seven printed collar and three balls”, usually dated to the second quarter of the 17th century. Verso: with graphite pencil Cornelis Bega / Bega (C). Study of a Milk Maid , later sketch of a tree (pencil) and collector's stamp from Robert Witt (Lugt 2228b). London, Samuel Courtauld Foundation, The Courtauld Gallery, inv. D.1952.RW.1513.
  • Seated woman with a jug , approx. 1660–62. Red chalk, copy on discolored paper, 265 × 187 mm. Verso: unknown [affixed]. London, The British Museum, inv. No. Ff, 4.117.
  • Drapery study , approx. 1660/61. Black chalk on blue paper, heightened with white, 255 × 173 mm. Verso: unknown [affixed]. Syracuse NY, Wayne and Linnea Franits collection.
  • Interior with a woman drinking wine , ca 1660/61. Canvas, 26.6 × 21.5 cm. Signed lower right in brown: cbega . USA, private collection.
  • Interior with a Young Woman and Two Peasants , approx. 1660–62. Oak, 28.5 × 22.4 cm. Signed lower right: cbega . Manchester, Manchester Art Gallery , inv. No. 1979.444.
  • Unequal pair , approx. 1661. Oak glued to paper, 29.2 × 23.2 cm. Private collection.
  • Couple in Love , approx. 1661. Canvas, 32.8 × 28.7 cm. Signed lower right: c: Bega: f. Vienna, picture gallery of the Academy of Fine Arts Vienna , inv. 1390.
  • Seated young woman , c. 1660/61. Red chalk with traces of black chalk, 238 × 152 mm. Verso: top left a false signature by Adriaen van de Velde in red chalk and the inscription Bega in black chalk or pencil. Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin , inv. KdZ 11998.
  • Seated woman with foot warmer , ca.1660/ 61. Oil on paper, glued to wood, 24.4 × 17 cm. Boston, Maida and George Abrams Collection.
  • Woman with a headscarf , approx. 1660–62. Red chalk, 134 × 113 mm. Verso: inscription in brown ink, lower left: N. 743 [Inv.-Nr. Goll van Franckenstein, cf. Lugt 2987], Lugt 2135 (Vereniging Rembrandt) and Lugt 2228 (RPK); signed in pencil: Bega , in pencil, in the middle: 5 and top left 3 . Watermark: fool's cap. Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. No. RP-T-1883-A-271.
  • Standing woman without facial features , approx. 1600–62. Black chalk on blue paper, heightened with white, 325 × 167 mm. Great Britain, private collection.
  • Standing woman in a turban , approx. 1660–62. Red chalk, light brown wash in the background, on firm paper, 282 × 165 mm. Verso: pale imprint of a standing woman in red chalk. Private ownership, inv. No. DE 002.
  • Back figure of a man , approx. 1660–62. Red chalk and line frame in gray on laid paper, 121 × 117 mm. Verso: inscriptions in pencil lower left with the names A.Brouer and Bega , furthermore the number 3540 and in the middle the stamp of the Dresdener Kupferstich-Kabinett (Lugt 1616). The stamp was in use between 1885 and 1920. Dresden, Dresden State Art Collections, Kupferstich-Kabinett, Inv.-No. C 1216.
  • Peasants making music and dancing , approx. 1661/62. Canvas, 47 × 40.5 cm. Signed lower right: cbega . Amsterdam, Rijksmuseum, inv. No. SK-A-24.
  • Tavern scene with a drunk man , 1661. Oak, 41 × 35.5 cm. Signed and dated lower left on a wooden board: cbega / 1661 . Private collection.
  • Tavern scene with lovers , 1661. Canvas glued to an oak panel, 38.7 × 34.5 cm. Signed and dated lower right: cbega 1661 . Stockholm, Hallwylska Museet, inv. No. B. 101.
  • Peasants in a tavern , 1662. Canvas, 48.6 × 41.5 cm. Signed and dated lower right: c bega / 1662 . Budapest, Szépművészeti Múzeum , inv. No. 4299.
  • Rural interior with a couple , 1662. Canvas on wood, 44.7 × 39 cm. Signed and dated lower center on a wooden board: c bega A ° / 1662 . Paris, Musée du Louvre , inv. No. 1032.
  • Reclining woman , approx. 1661–64. Black chalk on blue paper, heightened with white, 158 × 217 mm. Inscription lower right in black ink D. 424 (inventory number) and two collector's marks from Gigoux (Lugt 1164, lower left) and Musée de Besançon (Lugt Suppl. 238 c, lower right). Verso: unknown [affixed]. Besançon, Musée des Beaux-Arts et d'Archéologie , inv. No. D. 424.
  • Seated woman , approx. 1660–64. Red chalk, light brown wash in the background, 207 × 155 mm. Inscription in pencil lower left: c bega and inscription in pencil upper left: 22 . Bottom right collector's stamp: Lugt 174 (Albertina). Verso: unknown [affixed]. Vienna, Albertina, inv. No. 9157.
  • Seated woman , approx. 1661–64. Red chalk, 238 × 162 mm. Watermark: Amsterdam city arms. Private collection, inv. No. DE 007.
  • Young woman in a hat , c. 1661–64. Red chalk, 134 × 113 mm. Verso: inscription in brown ink: No. 743 (inv. No. Goll van Franckenstein, cf. Lugt 2987, only partially visible), inscription in brown ink: B [r?] Ega . Collector's stamp Lugt 2135 (Vereeniging Rembrandt) and Lugt 2228 (Rijksprentenkabinet Amsterdam), inscription in pencil: Bega, 5 and top left, in pencil: 8 . Watermark: fragment, illegible. Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. No. RP-T-1883-A-270.
  • Seated Boy in a Fur Hat , approx. 1661–64. Red chalk, black chalk in places on the hat, 214 × 167 mm. Inscription with inventory number in black ink lower right: D.420 and collector's mark Musée des Beaux-Arts in Besançon (peeps suppl. 238c). Verso: Inscription in graphite pencil: C. Béga and again: Corneille Bega . Inscription on cardboard with graphite pen: collection Norblin . Besançon, Musée des Beaux-Arts er d'Archéologie, inv. No. D. 420.
  • Woman with a turban , approx. 1662. Red chalk, 267 × 170 mm. Inscription lower right, in pencil: C. Bega . Verso: inscription in pencil: 99 . Watermark: fool's cap. Private collection, inv. No. DE 011.
  • Tavern scene with a young woman and a farmer drinking , approx. 1662. Canvas, 37.2 × 32.7 cm. Signed lower right in black: C bega . Private collection, Connecticut.
  • The piece of music , 1662. Canvas, 45.6 × 40 cm. Signed and dated lower left on the paper: c Bega / 1662 . Luxembourg, Villa Vauban, Musée d'Art de la Ville de Luxembourg, Inv.-No. 19th
  • The Cistercian Player , 1662. Canvas, 35 × 32.1 cm. Signed and dated lower left of the center: c bega A ° 1662 . Berlin, Gemäldegalerie Staatliche Museen zu Berlin, cat.-no. 871.
  • Two singing men , 1662. Canvas on wood, 35.9 × 31.9 cm. Signed and dated lower right on the wooden box: c bega / A ° 1662 . Dublin, National Gallery of Ireland , Inv.-No. 28.
  • The blind violinist , 1663. Canvas, mounted on wood, 34.4 × 30.2 cm. Signed lower right: C. bega / 1663 . Oxford, Ashmolean Museum , inv. No. A288.
  • Peasant family , approx. 1662/63. Fine canvas, glued to an oak panel with vertical grain at an early stage, 32.8 × 27.2 cm. Berlin, Gemäldegalerie Staatliche Museen zu Berlin, inv. No. 872.
  • Prayer before Meal , 1663. Canvas, 37.5 × 30 cm. Signed and dated lower right: c bega 1663 . Amsterdam, Rijksmuseum, inv. No. SK-C-95.
  • Visit to a peasant family , 1663. Oak, 40.6 × 34.2 cm. Signed and dated lower right in black: cbega 1663 . Aachen, Suermondt-Ludwig-Museum , inv. No. GK 1613.
  • Two drinking and smoking prostitutes , 1663. Canvas, 36 × 28.9 cm. Signed and dated lower right in black-brown: c Bega A ° 1663 . Frankfurt am Main, Städel Museum, inv. No. 641.
  • Standing maid , approx. 1661–64. Oil grisaille in dark brown, white and gray as well as shades of green on paper [a reddish background is visible in the middle], with varnish, 265 × 171 mm. Probably a collector's stamp from the Six Collection lower right: SX [cf. Lugt 1539a]. London, The British Museum, inv. No. 1861.0810.18.
  • Mother with child in a tavern , approx. 1662–64. Oak, 37 × 30.5 cm. Signed on the lower left of the foot warmer: cbega . Dunkirk, Musée des Beaux-Arts de Dunkerque, inv. P.730.
  • Seated young woman , approx. 1661–64. Black and white chalk on blue paper, faded to greenish brown, laid down on laid paper, 208 × 138 mm. Bottom left collector's stamp: Lugt 2602d (Argoutinsky-Dolgoroukoff). Verso: on the cardboard, collector's mark lower left: Lugt 3306 (Maida and George Abrams); Inscription top left, pencil: Cornelis Bega / Haarlem / 1620-1664 ; Inscription top left, pencil: ex Wertheimer ; Inscription in the middle, pencil: Cornelis Bega . Watermark: fool's cap. Boston, Maida and George Abrams Collection, Fogg Art Museum , Harvard University, Cambridge (Massachusetts), pledged donation, inv. 25.1998.93.
  • The medical visit , approx. 1663. Canvas, mounted on wood, 36.5 × 29.2 cm. Signed and dated lower right: C Bega A 166 (?) . Private collection.
  • The Astrologer , c. 1663. Black chalk, brown ink, 269 × 188 mm. Brands by J. Gigoux (Lugt 1164) and Musée de Besançon (Lugt Suppl. 238 c) with inventory number D.120 lower left. in black ink. Verso: unknown [glued to paper]. Besançon, Musée des Beaux-Arts et d'Archéologie, inv. No. D.120.
  • The Astrologer , 1663. Oak, 36.9 × 29.6 cm. Signed and dated lower left: c bega / A ° 1663 . London, National Gallery , inv. No. NG1481.
  • Young man looking up, approx. 1661–64. Black chalk on greenish gray prepared paper, heightened with white, 156 × 145 mm. Verso: Collector's stamp Vereeniging Rembrandt (Lugt 2135) and Rijksprentenkabinet Amsterdam (Lugt 2228); Inscription in pencil lower left: 67 . Amsterdam, Rijksprentenkabinet, inv. No. RP-T-1883-A-269.
  • Study of an Alchemist , 1663. Black chalk with white heightening on blue paper, 173 × 142 mm. No watermark. Verso: Inscription with graphite pencil: from the JA Börner / in Nuremberg collection [see Lugt 269–270, 328–329], collector's mark H. Haendcke (Lugt Suppl. 1228a), unidentified monogram in black chalk or graphite pencil lower right: XW [ ?] and in red chalk: 719 . Antwerp, Museum Mayer van den Bergh , inv. No. MMB.1049.
  • The Alchemist , 1663. Canvas on wood, 35.2 × 28.7 cm. Signed and dated lower right in white on a drawer: c bega A ° 1663 . Private collection.
  • The Alchemist , 1663. Oak, 36.2 × 32.2 cm. Signed and dated below the left hand on a blue paper: A ° 1663 / c bega . Los Angeles, J. Paul Getty Museum , inv. No. 84.PB.56.
  • The Music Lesson , 1663. Canvas, 45 × 41 cm. Signed and dated on the wooden table on the left: cBega / A ° 1663 . Stockholm, National Museum , inv. NM 310.
  • The Duet , 1663. Oak, 44.2 × 39.3 cm. Signed and dated on the left of the tab: cBega / A ° 1663 . Paris, Musée du Petit Palais (Musée des Beaux-Arts de la Ville de Paris), inv. No. P-Dut 890.
  • Young woman with jug and wine glass , c. 1663/64. Canvas, 27 × 22 cm. Remnants of a signature lower left. London, John Mitchell Fine Paintings.
  • Brothel scene , 1664. Canvas, 33.8 × 28.8 cm. Signed and dated lower left in brown: cbega A ° 1664 . Private collection Norbert Pokutta.
  • Dancing peasants in a tavern , 1664. Canvas, 44.2 × 38.2 cm. Signed and dated lower right, on the horizontal table leg in light gray color: A ° 1664 / cbega . Munich, Bayerische Staatsgemäldesammlungen , Alte Pinakothek, inv. No. 583.

Exhibitions

literature

Individual evidence

  1. ↑ Description of the exhibition ( Memento of the original from May 6, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on the museum's website, accessed May 24, 2012.  @1@ 2Template: Webachiv / IABot / www.suermondt-ludwig-museum.de
  2. ↑ Franz Zelger: "Gray in a thousand stages". The Haarlem genre painter Cornelis Bega is rediscovered in Aachen. Exhibition review in Neue Zürcher Zeitung on May 24, 2012, accessed on May 24, 2012.

Web links

Commons : Cornelis Pietersz. Bega  - collection of images, videos and audio files
personal data
SURNAME Bega, Cornelis Pietersz.
ALTERNATIVE NAMES Bega, Cornelis
BRIEF DESCRIPTION Dutch painter and etcher
DATE OF BIRTH 1631 or 1632
PLACE OF BIRTH Haarlem
DATE OF DEATH August 27, 1664
Place of death Haarlem