David Kindt

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Self-portrait, ca.1604, Hamburger Kunsthalle
Restored in 1614 by David Kindt for the Maria Magdalenen Monastery : Adolf IV in the sarcophagus, unknown artist around 1450, Museum for Hamburg History
Portrait of the mother, 1604, Hamburger Kunsthalle
The rich man and death , 1622, main church Sankt Jacobi Hamburg
Portrait of Rudolf Amsinck , 1604, Museum for Hamburg History
Portrait of Isabeau Amsinck , née de Hertoghe , wife of Rudolf Amsinck, 1604, Museum for Hamburg History
Portrait of Ditmar Koel (also Ditmar Kohl , grandson of Mayor Ditmar Koel ), 1606, Hamburger Kunsthalle
Naked woman in landscape . Dedication adapted to today's spelling: "This I made the honorable and / well-learned bachelor Martinus Kreiges / my cheap and well-known friend / as a good memory for him / in Hamburg / April 25th in 1612 / David Kindt", Statens Museum for art
Group of Eight Children Playing Naked , 1619, British Museum
Allegory of the folly of the world , 1622, Hamburger Kunsthalle, Kupferstichkabinett
The Lamentation of Christ , 1631, Louvre
Entry of Christ into Jerusalem , 1643, National Gallery Prague , Gallery of the Old Masters in the Sternberg Palace
Portrait of Friedrich Lindenbrog , before 1646, Hamburg State and University Library
Portrait of Severin Schlueter , 1648, Museum for Hamburg History

David Kindt (* 1580 in Hamburg ; † February 26, 1652 ibid) was a German Baroque painter .

Life

David Kindt was born as the son of the painter Johan Kindt, also Johann or Jan , and his wife in Hamburg in 1580. Little is known about his childhood, youth and education. It can be assumed that he was trained by his father. His painting style is shaped by Flemish and Dutch painting. In literature he has often been compared to Rembrandt van Rijn , Anthonis van Dyck and Peter Paul Rubens . In 1604, at the age of 24, he already had orders from the most influential families in Hamburg. On January 25, 1605 he acquired civil rights , shortly afterwards he married. On May 27, 1605 he became master of the painter's office. On June 14th he had his first apprentice, Leonhardt Schers. In 1608, Schers broke the contract and legal disputes arose that dragged on until 1621. David Kindt must have had many assignments, because until Leonhardt Schers left he had three apprentices at the same time. The names of the other two apprentices were Bastian Kerch and Cordt Weyer. By 1613 he made two maps of the Elbe . In 1614 David Kindt restored two paintings depicting Adolf IV for the Maria Magdalenen Monastery . One showed Adolf IV in full armor and the other showed him as a monk in a sarcophagus . In 1625 David Kindt became citizen captain of the 2nd company of the St. Jacobi regiment of the civil guard , which is named after the main church of St. Jacobi . On August 12, 1629 David Kindt also became a senior man in the painter's office. In 1631 he had to opt for the four life-size portraits of Friedrich III. von Schleswig-Holstein-Gottorf and his wife Maria Elisabeth stayed for several months at Gottorf Castle in Schleswig , or at least nearby. In 1637 he resigns from the office of citizen captain and on February 9, 1638 also the office of senior man. On August 30, 1638 he and four others were the Schaffer who organized the 10th convivium (similar to the Schaffermahlzeit ). David Kindt owned several houses in Hamburg, one of which was on the horse market, today's Gerhart-Hauptmann-Platz . He also owned a house with land in Hinschenfelde . David Kindt died on February 26, 1652 and was buried on March 4 in the main church of St. Nikolai .

In the Hamburg district of Barmbek-Nord , the street Kindtsweg was named after him in 1929 .

family

David Kindt's father, Johan Kindt († June 20, 1608 in Hamburg), also Jan Kindt , was also a painter. He fled because of religious persecution from Kortrijk in the then Duchy of Brabant to Hamburg, where he became magistrate on February 10, 1587. In the graphic collection of the Staatsgalerie Stuttgart there is a drawing by the father with the title Minerva as the protector of the art of painting (inventory number: C 63/1201 ). The family name was originally t'Kindt or t'Kint . One of David Kindt's cousins was named Pieter t'Kindt . In the spring of 1605 David Kindt married Anna Lange, daughter of the procurator and fiscal officer Johannes Lange and his wife Salome. David Kindt had nine children with Anna, of whom two sons survived, including the son Hieronymus, who also became a painter, but remained unknown.

The rich man and death

The painting The Rich Man and Death , painted with oil paints on wood , which hangs on the north wall in the north aisle of the nave of the main church Sankt Jacobi in Hamburg, was signed at the bottom of the picture with the following Latin words in white paint:

"ANNO 1622 - D. KINDT FECIT."

Loosely translated this means: In 1622 - D. Kindt did it. On closer inspection, you can see that the wooden panel on which the picture was painted consists of several wooden panels joined together . You can find out more in the account book of the Sankt-Jacobi-Kirche, among other things it says in Middle Low German :

"Davidt Kindt the painter, before dat painted in the Karcken vam ryken Slömer up dat nye with Oylefarve artfully paint tho, ok the lists with 3 stretches around tho gulden heavily, wortho he ok de lists, pannelings with the work lone dartho, .. . "

Translated, this means: David Kindt, the painter, for the painting in the church of the rich Schlemmer to paint artistically again with oil paint, also to gild the strips with three layers around them, for which he also procured the strips and panels with the wages to date ... . From this one can conclude that there was already a painting with the name that he painted on a blackboard from new panels or created a new one with the same title, although perhaps he did not stick to the previous composition. One could also conclude from this that the old picture was painted over, whereby the aforementioned panels were for the picture frame, which Harry Schmidt assumed in his work The Hamburg painter David Kindt 1919. He even went so far as to claim that the old painting had only been slightly restored by David Kindt and that the part in the picture was only very modest , which is pure speculation because he did not know the condition of the old painting. He mentioned in his writing that Alfred Lichtwark wrote in his work Das Bildnis in Hamburg in 1898 that the rich man in the painting wore a robe from the 16th century , which is not true. Here also seems Alfred Lichtwark to err, because if you, for example, the slotted spring beret considered one finds similar to pictures from the 17th century by David Kindts contemporaries Pietro della Vecchia , Anthony van Dyck , Gerard Dou or Rembrandt van Rijn , even more Decades after 1622. The contemporary Frans Francken the Younger has such a shirt, a similar coat and a similar slit beret on his painting Lazarus and the Rich Miser . The clothes seem more modern in 1622 than from the previous century, or at least not unusual for that time. According to David Kindt, more or less good restorers have certainly tampered with the painting, so that many parts that he had painted may have been painted over. Part of the lower body of the lower right angel seems to have been painted over and the lower tablet is not symmetrical either , as is usual. Here, too, the right side seems to have been changed. Ultimately, only a new examination of the painting by experts can remove all false conclusions, using X-rays or modern means such as perhaps macro X-ray fluorescence analysis (if it can also be used on panel paintings), which was first used in 2012 in a still life of flowers by Vincent van Gogh was used by employees of the German Electron Synchrotron , or the radiocarbon method , with which one could determine the age of the wooden panel.

Inscriptions and symbolism

Objects in many pictures often have a meaning and are intended to symbolize something, the content of which is often not immediately apparent. Some objects have multiple meanings. The objects as symbols are to be read in a Christian way in this painting, so that other meanings are omitted. The arrow is a symbol of impermanence, as is the hourglass that death personified as a skeleton holds the shroud in one hand, while the other hand with the arrow aims at the life of the rich man. The rich man was identified as a sinner with the color of his clothing , because the color red symbolizes sin. He is sitting at a table that is divided into two halves, the left with a tablecloth and the right without a tablecloth. On the right side there is a full little money sack and next to it are individual coins that form several stacks on the table. On the floor next to it there is still a tied money sack in the dark of the background of the scenery. An elongated fruit bowl stands in the middle on the table. In the bowl there is an apple on the right side, which symbolizes sin and death. On the left side of the bowl are grapes that could perhaps symbolize the Passion of Christ . On the left side of the table there is bread and a glass of wine, which symbolize the union with Christ. The bread symbolizes the body and the wine the blood of Christ. A rose without thorns also lies on the left and symbolizes freedom from sin. Right next to it is a flower vase with various flowers in it. The two margarites (if there are any) symbolize the drops of Christ's blood and the tulip transience. The other flowers in it, which are difficult to assign to a species, will probably also symbolize transience. In front of the table, in the foreground of the picture, there is a plaque that is flanked by two angels. The angel on the right is kept darker, as if it were in the shadow and staring into the dark, while the angel on the left is brightly lit and looking into the light. A scallop is enthroned on the table , behind which there are two crossed pilgrim sticks .

There are two painted tablets on the painting, one at the top and one at the bottom of the picture. Under the upper writing tablet there is also a kind of speech bubble on the right side next to the rich man. The following words can be read on the upper writing table in Middle Low German:

"Armot lijdt not - Barmherticheit ijs dott - Justice leijdt gevangen - Untrūwe regeert in all lands"

Which means something like: Poverty suffers hardship (poor people suffer hardship) - mercy is dead - justice trapped in pain - infidelity reigns in all countries . Below that in the speech bubble is a quote from the parable of the rich grain farmer ( Luke 12:19), in which the farmer resolves to tear down his barn after a rich harvest, to build a bigger one, to store the harvest in it, and then to his soul to say the quoted words:

“Dear soul, you have a great forward wheel, up vele ijare. Hebbe nu rouwe et drinck, unde lift a guden moth "

Translated from Middle Low German, this means: Dear soul, you have a large supply for many years. Now have rest, eat, drink and have good courage . In the parable God said to him: "You fool! This night your soul will be demanded of you; to whom will then belong what you have prepared?" In the painting, what God said, which is already indicated in the picture, is also indicated on the lower panel. There are Latin words at the top, which are translated into Middle Low German below. The Latin words, which when read normally do not make the right sense together, are divided into three lines and connected by lines. There is only one word in the middle line. If you combine the upper first word with the middle and the first lower word, it results in a sentence or part of a sentence, just as if you combine the second upper word with the middle and lower second word. So it is with the third, fourth, fifth, and sixth words. So six sentences are formed from this. In the quote below, the upper part is in front and the lower part is in the back.

"O mors cūr Deus negat vitam - Super - Be te to nos to nam"

This results in:

“O Superbe - Mors super te - Cūr superbis? - Deus super nos - Negat superbis - Vitam supernam. "

Translated, the words mean: Oh, haughty one, death on you. Why haughty? God above us does not want haughty living in heaven. It was translated into Middle Low German on the blackboard as follows:

"O du Houerdige, de doth is auer dij worume bistu Houerdige, Godt besides us, Godt refuses the Houerdige dat eternal loyal."

The translation of this is again: Oh, you haughty one, death is upon you. Why are you haughty God is above us, God refuses eternal life to the proud.

Hamburg and the entry of Christ into Jerusalem

Around 1920 the painting Christ's Entry into Jerusalem from Russian ownership came into the possession of Hernn Schall. His son Erich Schall in Berlin-Wilmersdorf offered it for sale to the Hamburger Kunsthalle under the director Gustav Pauli in 1925 , who, however, could not buy it due to lack of funds. In 1928 it was back on the art market and soon after, before 1943, in the private art collection of V. Burda in Prague . In 1943 it came into the possession of the Bohemian-Marian State Gallery in Prague (today the National Gallery of Prague ). In April 1943, the director of the Landesgalerie Josef Cibulka offered the painting to the Hamburger Kunsthalle for sale. The acting director of the Kunsthalle Carl Schellenberg was very interested, but the painting could only be taken over by exchange at the order of the Reich Protector . After much back and forth, Schellenberg was able to identify a Gothic Madonna of Bohemian descent from Hugo Oelze (1892–1967) in Amsterdam , which he wanted to exchange for the painting. To the chagrin of the people of Hamburg, they could not bring the painting home to Hamburg this time either, because the Rudolfinum in Parg was faster and the painting "snatched away from the people of Hamburg". The Madonna did not come into the possession of the Hamburger Kunsthalle until the beginning of 1946, as transport was previously not possible due to the war . The painting is now in the Old Masters Gallery in the Sternberg Palace of the National Gallery in Prague.

Works (selection)

Dimensions: width × height

David Kindt's signature on the painting Entry of Christ into Jerusalem

  • From Once again David Kindt by Harry Schmidt, 1928

  • Later photo

literature

Web links

Commons : David Kindt  - collection of pictures, videos and audio files
  • David Kindt on the Hamburg Personalities website , in which the Museum of Hamburg History is a patron
  • David Kindt ( Memento from August 11, 2017 in the Internet Archive ), on the website of the main church Sankt Jacobi
  • David Kindt , allegory on the folly of the world in the Hamburger Kunsthalle, Kupferstichkabinett

Individual evidence

  1. ↑ Black and white illustration of the paintings on pages 74 and 76
  2. ^ Johann Albert Fabricius : Memoriae Hamburgenses , Volume 3, Hamburg 1730, p. 228
  3. ↑ Cipriano Francisco Gaedechens : Hamburg's Citizens Armament - A Historical Review , Mauke, Hamburg 1872, pp. 8–9
  4. ^ Johann Albert Fabricius: Memoriae Hamburgenses , Volume 3, Hamburg 1730, p. 139
  5. ^ Mention of David Kindt's house on the horse market on a contract
  6. ↑ Rita Bake : A Memory of the City. Streets, squares, bridges named after women and men , Volume 3, as of December 2017, p. 775 ( PDF file )
  7. ^ Johan Kindt in the Hamburgischer Künstler-Lexikon , edited by the Association for Hamburg History , Hoffmann and Campe 1854
  8. ↑ Jan Kindt under the footnotes to David Kindt in German drawings 1450-1800 by Peter Prange, Volume 2, Böhlau Verlag, Cologne / Weimar 2007, p. 199.
  9. ↑ No. 25 on the website of the main church Sankt Jacobi
  10. ↑ Pietro della Vecchia feather beret
  11. ↑ Anthony van Dyck's feather beret
  12. ↑ Feather beret ( Memento from May 19, 2016 in the Internet Archive ) Gerard Dou (he painted this type of feather beret very often)
  13. ↑ Rembrandt van Rijn feather beret (he also often painted slotted feather berets)
  14. ↑ Feather beret on a child's head, Rembrandt van Rijn
  15. ↑ Lazarus and the rich curmudgeon of Frans Francken the Disciples
  16. ↑ Macro-X-ray fluorescence analysis of the painting by Vincent van Gogh on the website of the German Electron Synchrotron
  17. ↑ Manfred Lurker (Ed.): Dictionary of Symbolism (= Kröner's pocket edition . Volume 464). 5th, revised and expanded edition. Kröner, Stuttgart 1991, ISBN 3-520-46405-5 .
  18. ^ Fritz R. Glunk : The large lexicon of symbols , Gondrom Verlag 2001, ISBN 978-3811212640
  19. ↑ Davidt Kindt The Rich Man and Death on the website of the St. Jacobi Church
  20. ↑ Luke 12:19
  21. ↑ Harry Schmidt: Once again David Kindt . In: Journal of the Association for Hamburg History , Volume 29, 1928, p. 164
  22. ↑ The painting at RKD
  23. ↑ Maike Bruhns : Art in the Crisis. Volume 1: Hamburg Art in the “Third Reich”. Dölling and Galitz, Munich / Hamburg 2001, ISBN 3-933374-94-4 , p. 434
  24. ^ P. 151 below and 152 above in the monthly sheet of the Alterthums-Verein zu Wien , January 1892
  25. ^ Mention of the portrait by Ditmar Kohl
  26. ↑ P. 70 in Die Hamburgischen Oberalten, their civil activity and their families by Friedrich Georg Buek , Perthes & Besser 1857
  27. ^ Group of eight children playing naked , British Museum
  28. ↑ Dimensions in the illustration on the right on the website of the Photo Archive Photo Marburg
  29. ↑ Data on the picture
  30. ↑ Photo of the painting in the Louvre (click on the photo to enlarge it)
  31. ↑ Portrait of the unknown gentleman (illustration) on RKD
  32. ↑ p. 165 , No. 7 in Art and Historical Monuments of the Grand Duchy of Mecklenburg-Schwerin by Friedrich Schlie , 1896
  33. ↑ Evidence 1 , Gisela Schütte: Arguments painted in oil against all complainers , Welt am Sonntag , July 11, 2004
  34. ↑ Proof 2 , kunstkopie.de
personal data
SURNAME Kindt, David
BRIEF DESCRIPTION German painter
DATE OF BIRTH 1580
PLACE OF BIRTH Hamburg
DATE OF DEATH February 26, 1652
Place of death Hamburg