Jan Jansz. the Uyl

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Still life with a tin can, flute glass and roman , 1637, oil on panel, 83 × 69 cm, private collection
Still Life with Metal Vessels, a Roman and a Ham , c. 1640 (1635–1640), oil on canvas, 74 × 86 cm, private property
Still life with Wanli porcelain , tin can, flute glass, Römer and Hering (collaboration with Jan Jansz. Treck), approx. 1640, oil on panel, 56.5 × 76.4 cm, private collection

Jan Jansz. den Uyl or Vuijl (* 1595 / 96 , † November 24. 1639 in Amsterdam ) was a Dutch engraver and still-life painter .

Life

Jan Janszoon. den Uyl was born in 1595 or 1596 - possibly in Kampen . It is not known whether or with whom he did his apprenticeship. The entry in the Amsterdam Puiboeken shows that Den Uyl, who was already a painter, on March 21, 1619 at the age of 23, the 19-year-old Geertie Jans Treck (also Geertruid Treck), the sister of the painter Jan Jansz. Treck married. He was also mentioned as a painter in 1621 when he sold a property for the first time. In June 1631 he sold his house on Koningsgracht , now Singel 376; his brother Arendt lived next door. In 1635 he and his brother entrusted the lawyer Trojanus de Magistris with the financial handling of the business. Jan Jansz traveled in August. the Uyl to Haarlem and stayed in Leiden in April of the following year. Arendt, who was a carpenter by profession, married in May 1636. Jan Jansz. accompanied his brother to the town hall. Unfortunately, luck didn't last long. Arendt Jansz. was buried on July 8, 1637.

The Uyl owned the painting Hero and Leander (1605) by Peter Paul Rubens . Yale University Art Gallery

On October 7, 1637, Rembrandt was at an auction on behalf of Jan Jansz. the Uyl - perhaps to drive up the price of a particular painting. The next day Rembrandt bought a painting by Rubens that had previously been Jan Jansz. belonged to Uyl. When Rubens died in 1640, there were three paintings by Den Uyl in his estate.

On October 17, 1637 at 10 o'clock in the evening, the sick Den Uyl and his wife made their joint will. The couple now lived in the Jordaan on Bloemgracht, where several cloth dyeing plants were located at that time. In April 1638 he sold his brother's former house at Singel 378, which also bordered the Herengracht .

For a long time no date of death was known and it was assumed that Jan Jansz. who Uyl must have died before January 31, 1640 (but after October 22, 1639). Van Eeghen published important details as early as 1977, from which it emerges that Jan Jansz., Who , like his son, was sometimes called Vuijl or Uuijl , was buried on November 24, 1639 in the Nieuwe Kerk (Amsterdam) . However, Van Eeghen's results have largely gone unnoticed. After his death Jan Jansz took over. Trek the guardianship of Den Uyl's children. With Geertie Jans Treck, Den Uyl had two sons, born in 1624 and 1628, who were named Jan and Johannes, respectively. The older of the two, called "de Oude" to differentiate himself , became a painter like his father and uncle. The widow Den Uyls married a goldsmith in 1641 .

In 1650 De Magistris were offered 1,600 guilders for a painting by Den Uyl. The marine painter Jan van de Capelle owned 83 of his drawings. The works of the “then highly famous painter [s]” Den Uyl were obviously very popular with his contemporaries. Even today, his paintings are coveted collector's items. In 2007, a painting by Den Uyl was auctioned for the considerable sum of 2.5 million euros.

Art historical importance

Still life with a tin can and tin plates with a lapwing egg , 1632, oil on wooden panel, 80 × 68 cm, National Gallery, Prague

By Jan Jansz. only a very small oeuvre is known to the Uyl. There are only three dated paintings - the earliest from 1632 - and a few signed. A rediscovery and appreciation by Jan Jansz. Art history owes Uyl's works in particular to APA Vorenkamp and Pieter de Boer. Vorenkamp already noticed that in a painting by Den Uyl there was a little owl (ndl. Uil ) on the lid of a vessel. Pieter de Boer was able to produce a number of paintings by Jan Jansz. attribute to the Uyl, whereby the little owl is probably a kind of artist's signature.

Jan Jansz. den Uyl made paintings that are formally assigned to the meal still life (Banquetje). His still lifes, most likely from the 1830s, are clearly influenced by the Haarlem still lifes of this period. However, Den Uyl from Amsterdam did not limit himself to a mere imitation of the Haarlem models, but processed their influence in his work very individually. In doing so, he found new formulations that significantly advanced the meal still life of this time and thus had an impact on the artists working in Haarlem and other cities. The Uyls mostly portrait-format paintings are limited to only a few objects - including a conspicuous bulbous tin jug - in a "mysterious light". It is noticeable that certain pictorial objects such as the bulbous jug or the heavily creased napkin hanging over the table only appear in paintings by Painters colleagues like Pieter Claesz or Willem Claesz. Heda appeared when Den Uyl depicted them in his paintings. A related influence on his painting colleagues is evident.

A special feature of Den Uyl's works is the use of strong verticals in the composition and, in particular, the use of the portrait format, which gives the paintings a monumental effect and also clearly inspired his painter colleagues. Jan Jansz. The Uyls paintings impress with their excellent reproduction of surfaces of different materials, a monumental effect through the use of generous empty spaces and an impressive formulation of light and shadow, which creates a mysterious atmosphere surrounding the objects in the paintings. Especially this relation between the surface modeling with light reflections in the foreground and the surface in the background, which is getting darker and darker in Den Uyl's oeuvre, are qualities that Willem Kalf first convincingly used and further developed.

Jan Jansz. den Uyl was thus a painter of the Dutch banquet with outstanding independent skills. On the one hand, he took on the influences of his painter colleagues, but also had an influence on them through his individual view of the meal still life - including Jan Davidsz. de Heem . The Uyls paintings seem to be at the beginning of a development that in the 1640s led to the emergence of the magnificent still lifes focused on monumentality and optical charms that dominated still life painting in the second half of the 17th century.

Works

A selection of the works of Jan Jansz. the Uyl.

title Dating Dimensions technology place Remarks swell
Still life with a lying jug, flute glass and tazza 1610-1640 63 × 46 cm Oil on wooden panel Boijmans Van Beuningen Museum , Rotterdam signed RKD & Boer (1940), No. 4 & Vroom (1980), No. 659
Still life with a pewter can, a glass and rolls 1610-1640 62.2 x 52.1 cm Oil on wooden panel Privately owned signed with a little owl on the handle of the jug RKD & Boer (1940), No. 8 & Vroom (1980), No. 661
Still life with a pewter can and pewter plates with a lapwing egg 1632 80 × 68 cm Oil on wooden panel National Gallery Prague dated Vroom (1980), No. 762 & Boer (1940), No. 'd'
Still life with a tin can, flute glass and a reclining tazza 1633 92 × 72 cm Oil on wooden panel Privately owned signed and dated Boer (1940), no.7 & Vroom (1980), no.657
Still life with a pewter jug, golden lid, goblet, roman, lute a. a. circa 1635 79.9 x 94 cm Oil on wooden panel North Carolina Museum of Art , Raleigh a little owl crowning the lid on the gold cup North Carolina Museum of Art
Still life with a tazza, a pewter bowl and a bun approx. 1635 (altern. 1630–1640) 43.2 x 34 cm Oil on wooden panel Privately owned - RKD
Still life with a tazza on a pewter plate and a roll approx. 1635 (altern. 1630–1640) 37.5 × 32.5 cm Oil on wooden panel Privately owned signed with a little owl in the middle of the tazza RKD
Still life with a tazza on a pewter plate and a roll approx. 1635-1639 34.7 x 32.5 cm Oil on wooden panel Privately owned signed with a little owl in the middle of the tazza Richard Green art dealership
Still life with metal vessels, a Roman and a ham 1635-1640 74 × 86 cm Oil on canvas Privately owned previously Willem Claesz. Attributed to Heda RKD
Still life with a tin can, flute glass and roman 1637 83 × 69 cm Oil on wooden panel Privately owned signed with little owl and dated Boer (1940), No. 2 & Vroom (1980), No. 658
Still life with a tin can, roman, tazza and glass cup in front of a niche approx. 1637-39 130.5 × 115.5 cm Oil on wooden panel Museum of Fine Arts, Boston - Museum of Fine Arts Boston & Boer (1940), no.6 & Vroom (1980), no.664
Still life with porcelain, pewter jug, flute glass, roman and herring approx. 1640 (altern. 1639–1641) 56.5 x 76.4 cm Oil on wooden panel Privately owned signed with a little owl on the handle of the jug; probably by Jan Jansz. the Uyl started and by Jan Jansz. Trek ended RKD & Vroom (1980), No. 652 & 668
Still life with a fish meal, clay jug, stick glass and smoking tool after 1640 (?) 65 × 51.5 cm Oil on canvas State Museum Schwerin signed with a little owl on the clay jug; possibly by Jan Jansz. the Uyl II. (= origin after 1640) Vroom (1980), no.671
Still life with a tin can, tazza and a lying Roman - 101 × 85 cm Oil on wooden panel Liechtenstein Art Museum , Vaduz signed Boer (1940), No. 5 & Vroom (1980), No. 660
Still life with a tin can, fetus glass and lying tazzar in front of a niche - 141.5 × 107 cm Oil on wooden panel Gemäldegalerie (Berlin) signed with little owl Boer (1940), No. 3 & Vroom (1980), No. 665
Still life with ham, mustard bowl and cup of communion - 62 × 50 cm Oil on wooden panel Wadsworth Atheneum , Hartford Connecticut signed with name and little owl Boer (1940), No. 1 & Vroom (1980), No. 663
Still life with a tin can, lying tazza, rolls, crab and clay jug - 67.7 x 87.2 cm Oil on wooden panel Privately owned - Sotheby’s & Vroom (1980), No. 666 & Boer (1940), No. 'a'
Still life with a tin can, lying tazza, flute glass and ham in front of a stone niche - 93 × 80 cm Oil on wooden panel Privately owned possibly signed with a little owl on the lid of the tin can Sotheby's

literature

A little owl on the handle of a jug is the hallmark of the artist Jan Jansz. den Uyl
← Detail of the painting Still life with Wanli porcelain, tin can, flute glass, roman and herring

reference books

  • Abraham Bredius: artist inventories. Documents on the history of Dutch art in the 16th, 17th and 18th centuries. Martinus Nijhoff, The Hague 1915, 7 vols. And Register.
  • Erika Gemar-Költzsch: Dutch still life painter in the 17th century. Luca-Verlag, Lingen 1995, ISBN 3-923641-41-9 .
  • Fred G. Meijer, Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. 1525-1725. Primavera Press, Leiden 2003, ISBN 90-74310-85-0 .
  • E. Trautscholdt: Uyl (Vuyl), Jan (Johannes) Jansz. (van) . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940, p. 15-16 .

Monographs and exhibition catalogs

  • Ingvar Bergström: Dutch still-life painting in the seventeenth century . Translated from the Swedish by Christina Hedström and Gerald Taylor. Faber & Faber, London 1956.
  • Martina Brunner-Bulst: Pieter Claesz .: the main master of the Haarlemer still life in the 17th century. Critical oeuvre catalog. Luca-Verlag, Lingen 2004, ISBN 3-923641-22-2 .
  • Bob Haak: Hollandse signs in Gouden Eeuw. Meulenhoff / Landshoff, Amsterdam 1984.
  • Pamela Hibbs Decoteau: Clara Peeters: 1594 - ca.1640, and the development of still-life painting in northern Europe. Luca-Verlag, Lingen 1992, ISBN 3-923641-38-9 .
  • Sybille Ebert-Schifferer: The history of the still life. Hirmer, Munich 1998, ISBN 3-7774-7890-3 .
  • Claus Grimm: Still life. The Dutch and German masters. Belser, Stuttgart (inter alia) 1988, ISBN 3-7630-1945-6 .
  • Gerhard Langemeyer & Hans-Albert Peeters (eds.): Still life in Europe. (Aust.kat .: Westphalian State Museum for Art and Cultural History Münster & State Art Hall Baden-Baden 1980). Regional Association of Westphalia-Lippe, Münster 1979.
  • Norbert Schneider: Still life. Reality and symbolism of things; the still life painting of the early modern period. Taschen, Cologne 1989, ISBN 3-8228-0398-7 .
  • Gary Schwartz: Rembrandt, zijn leven, zijn schilderijen. Rembrandt. Atrium, Alphen a / d Rijn 1987, p. 194, ISBN 90-6113-265-7 .
  • APA Vorenkamp: Bijdrage tot de geschiedenis van het Hollandsch stilleven in de 17 eeuw: proefschrift the Verkrijging van den graad van doctor in de letteren en wijsbegeerte aan de Rijks-Universiteit te Leiden. NV Leidsche Uitgeversmaatschappij, Leiden 1933.
  • NRA Vroom: De Schilders Van Het Monochrome Banketje. Kosmos, Amsterdam 1945.

Essays and Articles

  • Ingvar Bergström: Another Look at De Heem's Early Dutch Period. 1626-1635. In: The Hoogsteder Mercury 7, 1988, pp. 37-50. ( Read article online )
  • Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, pp. 48-64.
  • I. van Eeghen: Jan Jansz Uyl en Rembrandt as 'tamme eend'. In: Amstelodamum Maandblad. 64, No. 1, 1977, pp. 123-126.

Web links

Notes and individual references

  1. ^ I. van Eeghen: Jan Jansz Uyl en Rembrandt as 'tamme eend'. In: Amstelodamum Maandblad. (1977), p. 125. amstelodamum.nl  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.amstelodamum.nl  
  2. ↑ A. Bredius and N. de Roever suspected that Den Uyl was born in Kampen because relatives of his lived there.
    “Zij hadden here ter stede [Amsterdam] geen bloedverwanten van vaders zijde. Deze woonden te Kampen, en het is daarom niet onwaarschijnlijk, dat hun vader een Kampenaar was. "
    Abraham Bredius, Nicolaas de Roever: Oud Holland. No. 5, 1887, pp. 232f.
  3. ↑ These are marriage registers for those who did not belong to the Reformed Church. Jan Jansz. den Uyl was Catholic. His parents had already died.
  4. ↑ a b c d e E. Trautscholdt: Uyl (Vuyl), Jan (Johannes) Jansz. (van) . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940, p. 15-16 .
  5. ^ Transport files in the name of Uyl
  6. ↑ H. de la Fontaine Verwey et al. a .: Four new Herengracht geveltekeningen van alle huizen aan de gracht, twee historical overzichten and de Beschrijving van elk pand met zijn eigenaars en bewoners. Uitgegeven onder auspiciën van het Genootschap Amstelodamum. Stadsdrukkerij Amsterdam, Amsterdam 1976, ISBN 90-6274-001-4 .
    See under: Herengracht 335.
  7. ↑ Stadsarchief Amsterdam  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / stadsarchief.amsterdam.nl  
  8. ↑ The Den Uyl's lived on the Singel shortly after the intersection
  9. ↑ a b c I. van Eeghen: Jan Jansz Uyl en Rembrandt as 'tamme eend'. In: Amstelodamum Maandblad. (1977), p. 124.
  10. ^ DTB Stadsarchief Amsterdam
  11. ^ Art at auction in 17th century Amsterdam by John Michael Montias, pp. 261, 66, 67, 68 books.google.nl
  12. ^ Rembrandt co-opts a Rubens
  13. ^ John Smith: A Catalog Raisonné of the Works of the Most Eminent Dutch, Flemish and French painters. (1842), No. 302, No. 303, No. 304 (Volume 2). books.google.nl
  14. ^ Gary Schwartz: Rembrandt, zijn leven, zijn schilderijen. (1987), p. 194.
  15. ↑ Bredius wrote that he was sitting on a chair by the fire in the basement room.
    "1639. October 17th (10 a.m.). Will of Jan Jansz. den Uyl and Geertie Jans, real songs, wonende op de Blomgraft (in Amsterdam). The man is sieck van lichame op een stoel voor 't vuyr in de kelderkamer sittende . They set up each other to be heirs. (Signed :) Jan Jansz Uyl “
    Abraham Bredius: Artist Inventories. (1919), p. 2096 (volume 6).
  16. ↑ Location of the Bloemgracht
  17. ↑ JM Montias, p. 25
  18. ↑ City Archives Amsterdam
  19. ↑ Fred G. Meijer, Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. 1525-1725. (2003), p. 198.
  20. ↑ biografischportaal.nl or rkd.nl
  21. ↑ DTB Stadsarchief Amsterdam  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / stadsarchief.amsterdam.nl  
  22. ^ E. Trautscholdt: Uyl (Vuyl), Jan (II) . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940, p. 16 .
  23. ↑ Frick Collection The Montias Database of 17th Century Dutch Art Inventories ( Memento from January 4, 2016 in the Internet Archive )
  24. ^ Bob Haak: Hollandse schilders in de Gouden Eeuw (1984), p. 310.
  25. ^ Abraham Bredius: artist inventories. (1919), p. 2084 (volume 6).
  26. ↑ Website and image  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / hfd.paypernews.nl  
  27. ↑ The two essential overviews are: Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, p. 61ff. NRA Vroom: A modest message as intimated by the painters of the "Monochrome banketje" (1980), catalog pp. 127-130.
  28. ↑ Banketstuk met kievitsei , dated 1632
    Alan Chong, Wouter Kloek: Het Nederlandse stilleven 1550-1720. (1999), p. 170.
  29. ↑ APA Vorenkamp: bijdrage tot de geschiedenis van het Hollandsch stilleven in de 17 eeuw. (1933), pp. 43f. Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, pp. 49-64.
  30. ↑ "Zich beperkend tot het schilderen van de simplest composities, weet hij everything in a secret pewter light te plaatsen, dat men bij de Haarlemmer niet vindt."
    Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, p. 52.
  31. ↑ Pieter de Boer pointed out the typical appearance of the dark tablecloth with white napkin and the characteristic pewter jug ​​in Jan Jansz's works. to the Uyls.
    Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, pp. 54, 59.
  32. ↑ “An important question in forming our conception of the development of the Dutch breakfast-piece is that of the relationship which may have existed between the leading Haarlem painters WC Heda, Pieter Claesz., And Gerrit Heda on the one hand, and Jan Jansz . den Uyl on the other. “
    Ingvar Bergström: Dutch still-life painting in the seventeenth century . (1956), p. 152
    “Although we have no news of any personal acquaintance of Jan Jansz. the Uyl with Pieter Claesz. or Willem Claesz. Heda, the stimulating effect of his still life from the early 30s is evident. ”
    Martina Brunner-Bulst: Pieter Claesz .: the main master of the Haarlem still life in the 17th century. (2004), p. 173.
  33. ^ "Our study of Den Uyl has revealed him as a master with strong individual traits; he composed with large empty spaces in the foreground and background; he generally painted on an upright panel and had a special predilection for verticals. His sense of the monumental was more highly developed than that of any of his contemporaries in Dutch still-life art. He painted large big-bellied pewter flagons and reproduced the texture of the metal with unequaled skill. "
    Ingvar Bergström: Dutch still-life painting in the seventeenth century . (1956), p. 152
  34. ↑ “Jan Jansz. the Uyl heeft het eenvoudige stilleven tot een hoogen trap van volmaaktheid. Hij moet veel invloed op zijn tijdgenoten hebben gehad; zijn zwager Jan Jansz. Treck is wellicht zijn Leerling geweest en verder heeft hij den Weg voorbereid voor Willem Kalf […]. “
    Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, p. 51
    "[...] the only Dutch still-life painter of the best period who merits comparison with Willem Kalf."
    Ingvar Bergström: Dutch still-life painting in the seventeenth century . (1956), p. 153.
  35. ↑ Ingvar Bergström: Another Look at De Heem's Early Dutch Period. In: The Hoogsteder Mercury 7, 1988, p. 46.
  36. ↑ Pieter de Boer identified 15 paintings as works by Den Uyl in his article, only 5 of which are signed with a little owl .
    Pieter de Boer: Jan Jansz. the Uyl. In: Oud Holland. 57, 1940, pp. 49-64.
  37. ↑ Tazza: Bowl with a sculptural foot. Cf. [Sam Segal]: Still Life in the Golden Century - Jan Davidsz. de Heem and his circle. Exhibition in the Centraal Museum in Utrecht, February 16 - April 14, 1991, and in the Herzog Anton Ulrich Museum in Braunschweig, May 9 - July 7, 1991. Herzog-Anton-Ulrich-Museum, Braunschweig 1991. ISBN 3-922279 -19-8 , p. 189.
  38. ↑ Fred G. Meijer & Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. (2003), p. 199.
personal data
SURNAME Uyl, Jan Jansz. the
ALTERNATIVE NAMES Vuijl, Jan Jansz. the
BRIEF DESCRIPTION Dutch etcher and still life painter
DATE OF BIRTH 1595 or 1596
DATE OF DEATH November 24, 1639
Place of death Amsterdam