Pieter Lastman

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Pieter Lastman (* around 1583 in Amsterdam ; † April 4, 1633 there ) was a Dutch history painter of the early Baroque. He was the son of the wealthy city messenger and asset manager Pieter Segerszoon.

Pieter Lastman: Entombment of Christ , 1612, oil on wood

Life

According to Karel van Mander , a Dutch painter and poet, Lastman was a pupil of the painter Gerrit Pietersz Sweelink . After completing his education, he traveled to Italy around 1602. He may have stayed in Venice, among other places, and belonged to a circle of painters in Rome that had formed around Adam Elsheimer .

Lastman returned to Amsterdam in 1607; his earliest dated picture is from 1608. Lastman mainly painted biblical and mythological scenes in a scenic setting, of which the flight to Egypt , the baptism of the chamberlain , Odysseus before Nausicaa , the judgment of Midas and the awakening of Lazarus are to be emphasized.

Lastman quickly gained fame as a history painter, his workshop was respected and he was able to sell his pictures at high prices. In praise of the city of Amsterdam, Lastman was named the most important painter in his hometown in 1618. In 1619 he accepted Jan Lievens as a student. In 1625 Rembrandt was his pupil for six months and Lastman's Balaam and the donkey from 1611 will have been known to Rembrandt in 1626 in his painting Balaam's donkey .

Lastmann devoted himself primarily to the study of composition and the correct narration of history paintings. Lastman's famous students guaranteed that his compositional principles would be passed down through generations of painters.

Very few of Lastman's works were commissioned. He belonged to a group of artists emerging during this period, each specializing in a certain genre of images and offering their works on the open market. In the history of art he is considered the first painter of the 17th century who devoted himself exclusively to history painting.

Pieter Lastman: Balaam and the Donkey , 1611, oil on panel
Pieter Lastman: The angel and Tobias with the fish . around 1625, oil on canvas

Works

Pieter Lastman: Hagar's Farewell, 1612, oil on panel
Susanne and the two old people
  • Flight into Egypt , 1608, wood, 28 × 24 cm.
  • Hagar's Farewell , 1612, wood, 49 × 71 cm.
  • Battle between Constantine and Maxentius , 1613, canvas, 158 × 165 cm. (see Battle of the Milvian Bridge )
  • Susanna and the two elders, 1614, oil on panel, 47.2 × 38.6 cm Gemäldegalerie (Berlin)
  • Christ and the Canaanite Woman , 1617, wood, 78 × 108 cm.
  • Paul and Barnabas in Lystra , 1617
  • David plays the harp , 1618, wood, 79 × 117 cm.
  • Paris and Önone , 1619 (see Oinone )
  • Odysseus and Nausicaa , 1619, wood, 90 × 115 cm.
  • Laban asks Rachel to return the stolen idols , 1622, wood, 110 × 152 cm
  • Dido sacrifices to Juno , 1630, wood, 74 × 106 cm.

literature

  • Joseph Eduard WesselyLastmann, Pieter . In: Allgemeine Deutsche Biographie (ADB). Volume 18, Duncker & Humblot, Leipzig 1883, p. 10 f.
  • Abraham Bredius and Nicolas de Roever: Pieter Lastman en François Venant , in: Oud Holland, 4, 1886, pp. 1–23.
  • Wilhelm von Bode : Pieter Lastman's painting of Susanna with the elderly and its relationship to the representations of the same motif in Rembrandt , in: Official reports from the Royal Art Collections, 30, 1908/09, Sp. 57–65.
  • Kurt Freise: Bathsebabilder von Rembrandt and Lastman , in : monthshefte für Kunstwissenschaft , 2, 1909, pp. 302-313.
  • Kurt Freise: Pieter Lastman: his life and his art; a contribution to the history of Dutch painting in the XVII. Century , in: Art Studies, Volume 5, Leipzig 1911.
  • Kurt Freise: Rembrandt and Lastman , in: Der Cicerone, 5, 1913, pp. 610-611.
  • Cornelis Hofstede de Groot : Pieter Lastman en Thomas de Keyser , in: Oud Holland, 47, 1930, pp. 237–240.
  • Kurt Bauch : Pieter Lastman's early works , in: Münchner Jahrbuch der bildenden Kunst, 2, 1951, pp. 225–237.
  • Kurt Bauch : Hand drawings by Pieter Lastmans , in: Münchner Jahrbuch der bildenden Kunst, 3/4, 1952/53, pp. 220–232.
  • Kurt Bauch : Design and composition by Pieter Lastman , in: Münchner Jahrbuch der bildenden Kunst, 3 1955, pp. 213–221.
  • Erik Larsen: The Original "Judah and Tamar" by Pieter Lastman , in: Oud Holland, 72, 1957, pp. 111-114.
  • Ben Broos : Rembrandt en zijn eeuwige leermeester Lastman , in: De Kroniek van het Rembrandthuis, 3, 1972, pp. 76-96.
  • Astrid Tümpel: Claes Cornelisz Moeyaert , in: Oud Holland 88, 1974, pp. 1–168, Chapter II, I.2: Pieter Lastman , pp. 35–56.
  • Ben PJ Broos: Rembrandt and Lastmans's Coriolanus: the history piece in 17th century theory and practice , in: Simiolus, 8, 1975/76, pp. 199-228.
  • Astrid Tümpel: The Pre-Rembrandtists Sacramento 1974, chap. Pieter Lastman, pp. 16-21.
  • Astrid Tümpel: Ruth declares her loyalty to Pieter Lastman to Naemi. On the genesis of a typical baroque theme , in: Low German contributions to art history 17, 1978, pp. 87-101.
  • Astrid Tümpel / Peter Schatborn: Pieter Lastman. Leermeester van Rembrandt / The man who taught Rembrandt , Amsterdam / Zwolle 1991.
  • Amy Gohlany: Pieter Lastman in the Literature: From Immortality to Oblivion , in: Dutch Crossing, 20, 1996, pp. 87-115.
  • Amy Golahny: Lastman's 'Dido's Sacrifice to Juno' identified , in: De Kroniek van het Rembrandthuis, 1, 1998, pp. 39-48.
  • Martina Sitt: Pieter Lastman - In Rembrandt's Shadow? , Exhib. Cat. Hamburg, Kunsthalle, Hirmer Verlag, Munich 2006, ISBN 3-7774-2985-6 .

Web links

Commons : Pieter Lastman  - Collection of Images, Videos and Audio Files