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514:). Despite the modern title, the scene is a group portrait of fellow artists of Adriaen Brouwer who resided in Antwerp. Not all of them have been identified with certainty. Brouwer is the second figure on the left who is turned towards the viewer. He has his eyes wide open, holds a beer jug in his right hand and puffs out smoke from his pipe. The figure on the far right has been identified as
412:, a genre painter who was active in Haarlem. Brouwer's stylistic development cannot be traced with certainty. Pictures in bright natural colours are believed to have been painted in the 1620s. Around 1630, Brouwer's palette started showing a strong preference for browns, greys and greens. The painter had a free, sketchy manner of painting and applied paint thinly.
555:. He achieved this by expanding the portraits to full-length portraits, setting the scene in a tavern, the expressiveness of the faces and the nonchalant demeanour and clothing of the sitters. The dynamism of the composition brings the group portrait closer to Brouwer's tavern scenes than to contemporary portrait paintings. The portrait
460:). These compositions depict how rage in its varying stages and degrees is reflected in the facial expressions of the persons having an argument. Brouwer does not appear to denounce these outbreaks of anger as a Christian sin but as an expression of a lack of self-control. This view may have come from ethical ideas of
149:, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters. Although Brouwer produced only a small body of work, Dutch masters
347:(c. 1636, Metropolitan Museum of Art, New York). The company of friends is shown sitting around a table and smoking. Brouwer is the figure in the middle who is turned around to face the viewer. This type of group portrait doubled as a representation of one of the five senses (in this case the sense of taste).
563:": the artist as an intellectual and gentleman. This ideal was replaced by the new model of the prodigal artist who is characterized by his creative inspiration and talents. These (self-)portraits emphasized the artists' dissolute nature by creating associations with traditional moral themes such as the
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plague. Evidence for the latter is that originally his remains were buried in a common grave. A month after his death on 1 February 1638, his body was re-interred in the
Carmelite Church of Antwerp after a solemn ceremony and at the initiative and expense and in the presence of his artist friends.
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Genre painters often returned to the old theme of the allegory of the five senses and created series of tronies depicting the five senses or the seven deadly sins. Brouwer also painted a number of genre portraits that represent the five senses or the seven deadly sins. An example is the painting
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In 1635 Brouwer took on Jan-Baptist Dandoy (active 1631–1638) as his only officially registered pupil. In
January 1638 Adriaen Brouwer died in Antwerp. Some early biographers associated his early death with his party lifestyle and abuse of alcohol. Houbraken, however, attributes his death to the
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Despite his reported dissolute lifestyle and his preference for low-life subjects, Brouwer was highly respected by his colleagues as evidenced by the fact that Rubens owned 17 works by
Brouwer at the time of his death, of which at least one had been acquired before Rubens got to know Brouwer
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It is still contested whether he intended to convey any moral message. He gradually appears to have concentrated more on the expressions of his subjects going through the emotions of pain, anger, disgust and joy. This is particularly clear in his many paintings of tavern brawls, such as the
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In his genre scenes
Brouwer depicted peasants, soldiers and other "lower class" individuals engaging in various forms of vices such as drinking, smoking, card or dice playing, brawls etc. often set in taverns or rural settings. The sole purpose of his compositions often appears to be the
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The principal subject matter of
Brouwer are genre scenes with peasants, soldiers and other "lower class" individuals engaging in drinking, smoking, card or dice playing, fights etc. often set in taverns or rural settings. Brouwer also contributed to the development of the genre of
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Brouwer left a small body of work amounting to about 60 works. Just a few of his works are signed, while none is dated. As
Brouwer was widely copied, imitated and followed in his time, attributions of work to Brouwer are sometimes uncertain or contested. For instance,
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611:) shows a young man with a satirical and mocking gesture which humanises him, however uninviting he may appear. Brouwer's vigorous application of paint in this composition, with his characteristically short, unmodulated brushstrokes, increases the dramatic effect.
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in a portrait format. Adriaen
Brouwer contributed to the genre as he had a talent for expressiveness. His work gave a face to lower-class figures by infusing their images with recognizable and vividly expressed human emotions—anger, joy, pain, and pleasure. His
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painting through his vivid depictions of peasants, soldiers and other "lower class" individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings. Brouwer contributed to the development of the genre of
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designer in
Oudenaarde, at the time an important centre for tapestry production in Flanders. The father died in poverty when Adriaen the younger was only 15 or 16 years old. Brouwer had by that time already left the paternal home.
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the second person on the right. This group portrait is regarded as belonging to the type of the "friendship portrait". Similar friendship portraits that include a self-portrait had been created before by Rubens in his
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of
Antwerp. The artist continued to live and work in Antwerp until his untimely death. The artist's name regularly shows up in Antwerp records usually in connection with arrangements for his various debts.
405:, i.e. head or facial studies, which investigate varieties of expression. He produced a few landscapes in the final years of his career. Brouwer's compositions are nearly all executed in small format.
261:. The reason for the imprisonment is not clear. Possibly it was for tax evasion, or, alternatively, for political reasons because the local authorities may have considered him to be a spy for the
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falls also into the genre of the "dissolute" artist portraits that took root in Dutch and
Flemish genre painting in the 17th century. The genre was an inversion of the Renaissance ideal of the "
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Brouwer painted a few late landscapes in addition to his rural scenes. They are atmospheric and painted with a loose touch. These landscapes were influential on other landscape painters such as
217:, another Flemish artist who had taken up residence in the Dutch Republic. Brouwer is further recorded on 23 July 1626 as a notary's witness when he signed a statement of Barend van Someren and
397:) showing a man exhaling smoke while holding a bottle of liquor was attributed for a long time to Brouwer, but is now given to Brouwer's follower and, possibly, pupil Joos van Craesbeeck.
598:. The term tronie typically refers to figure studies not intended to depict an identifiable person, but rather to investigate varieties of expression. As such tronies are a form of
283:" ("As the old ones sang, so the young ones chirp"). The stylistic similarities of van Craesbeeck's early work with that of Brouwer seem to corroborate such pupilage.
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Early biographers describe how Adriaen Brouwer and his artist friends spent much of their time in local taverns. Brouwer painted a tavern scene called
960:, in: Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 3/4 (2003), Stichting Nederlandse Kunsthistorische Publicaties, pp. 196-216
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There are still a number of unresolved questions surrounding the early life and career of Adriaen Brouwer. The early Dutch biographer
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Brouwer worked in Antwerp in 1622. By March 1625 Adriaen Brouwer was recorded in Amsterdam where he resided in the inn of the painter
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860:, Advisors: Wheelock, Arthur, PhD, 2007 Dissertation, University of Maryland University of Maryland (College Park, Md.), p. 8
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about a sale of pictures in Amsterdam. It is possible that by that time he already lived in Haarlem. He was active in the
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van Craesbeeck is believed to have become Brouwer's pupil and best friend. Their relationship was described by de Bie as "
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Konrad Renger. "Brouwer, Adriaen." Grove Art Online. Oxford Art Online. Oxford University Press. Web. Konrad Renger,
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Adriaen Brouwer is regarded as an important innovator of portrait painting, a prominent genre in Netherlandish art.
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In 1631 Brouwer returned to his native Flanders where he was registered as a master in the Antwerp
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Hoe schilder hoe wilder: Dissolute Self-Portraiture in Seventeenth-Century Dutch and Flemish Art
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of 1718–19. The most glaring mistakes of Houbraken were to place Brouwer's place of birth in
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On 26 April 1634 Adriaen Brouwer took up lodgings in the house of the prominent engraver
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F. J. Van den Branden, 'Adriaan de Brouwer en Joos van Craesbeeck', Dela Montagne, 1882
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Alternative spellings of name: Adriaan Brouwer, Adriaen Brauwer, Adriaen de Brauwer
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Adriaen Brouwer, Portrait Painter: New Identifications and an Iconographic Novelty
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as the two men had become close friends. The same year the pair joined the local
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in Flanders in 1605 or 1606. His father who was also called Adriaen worked as a
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included multiple erroneous statements and fanciful stories about Brouwer in his
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Extensive Dune Landscape With Travelers and a Dog On a Path Alongside an Inlet
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Extensive Dune Landscape With Travelers and a Dog On a Path Alongside an Inlet
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J.H.W. Unger, 'Adriaan Brouwer te Haarlem', Oud-Holland 2 (1884), p. 161–169
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in the first half of the 17th century. Brouwer was an important innovator of
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Brouwer influenced a large number of Flemish and Dutch painters including
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published a poem entitled "A Dutch Interior" based on Brouwer's painting
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Brouwer played an important role in the development of the genre of the
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Landon, Letitia Elizabeth (1836). "poetical illustration".
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of lust, is at the same time a portrait of Paulus Pontius.
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534:Self-Portrait in a Circle of Friends from Mantua
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190:
170:
164:
118:
117:
77:January 1638
59:c. 1605/1606
47:portrait by
37:
18:
1152:1638 deaths
1147:1605 births
977:(in French)
641:in Latin).
627:Mauritshuis
577:The Smokers
565:Five Senses
557:The Smokers
553:The Smokers
520:Jan Lievens
504: 1636
496:The Smokers
466:neostoicism
341:Jan Lievens
336:The Smokers
309:Mauritshuis
246:The Smokers
197:, Frankfurt
126: 1605
89:Nationality
45: 1631
1141:Categories
910:(in Dutch)
898:(in Dutch)
777:(in Dutch)
743:References
645:Landscapes
631:deadly sin
410:Dirck Hals
390:The Smoker
313:deadly sin
253:, New York
203:Oudenaarde
181:Frans Hals
132:active in
63:Oudenaarde
995:9 January
673:Influence
295:Violieren
155:Rembrandt
83:, Belgium
832:Archived
571:and the
329:, Munich
207:tapestry
136:and the
134:Flanders
107:Movement
101:Painting
1015:at the
772:at the
639:luxuria
623:Luxuria
618:Fat Man
615:called
537:and by
403:tronies
382:General
305:Luxuria
300:Fat Man
249:(1636)
234:poorter
177:Haarlem
147:tronies
130:painter
111:Baroque
92:Flemish
81:Antwerp
67:Belgium
1111:
653:whose
595:tronie
567:, the
458:Munich
395:Louvre
575:. In
510:, in
363:Smell
142:genre
1109:ISBN
997:2015
635:lust
446:and
377:Work
161:Life
153:and
74:Died
56:Born
40:, a
739:.
727:In
669:).
633:of
621:or
468:by
303:or
1143::
1103:.
945:^
881:^
872:.
843:^
805:^
783:^
760:^
731:,
715:,
711:,
707:,
703:,
699:,
695:,
506:,
501:c.
456:,
427:,
365:.
123:c.
65:,
42:c.
999:.
665:(
637:(
625:(
499:(
393:(
307:(
121:(
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