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22:
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hierarchies of social status, of subject matter, of beauty itself. The artist, he said, must learn grace by mingling with the social and intellectual élite, must allow his subject matter to teach the highest moral principles, and must strive for ideal beauty. He must follow closely upon nature but overlook its imperfections.
416:
He was a disciplined intellectual, inspired by the notion that only correct theory could produce good art. For him theory meant the strict adherence to rules. The ultimate purpose of the visual arts was the improvement of mankind, and therefore art must, above all, be lofty and edifying. He set forth
432:
was of utmost importance, also wrote about the place of pictures on walls. For example, he urged that landscapes (and indeed all paintings) should be hung at a height where their horizons were even with eye level. De
Lairesse urged that portraits that be hung high and have a low viewpoint. Gerard de
411:
De
Lairesse distinguishes two manners of painting, good and bad, that both take their starting point in the imitation of reality. The right choice is to look for beauty and grace and to select the most perfect manifestations of natural phenomena, instead of copying them at random. This method will
1354:
Bidloo, Govard; Lairesse, Gérard de [Ill.]: Godefridi Bidloo, Medicinae
Doctoris & Chirurgi, Anatomia Hvmani Corporis: Centum & quinque Tabvlis Per artificiosiss. G. De Lairesse ad vivum delineatis, Demonstrata, Veterum Recentiorumque Inventis explicata plurimisque, hactenus non
530:
Celebrated during his lifetime and well into the 18th century, he was berated during the 19th century. With or without justification, he was considered superficial and effete, and was held in large part responsible for the decline in Dutch painting. Two hundred years after his death in 1711 the
1098:
The principles of drawing : or, an easy and familiar method whereby youth are directed in the practice of that useful art. Being a compleat drawing book: ... To which is prefix'd, an introduction to drawing; ... Translated from the French of
Monsieur Gerard de Lairesse, and improved with
1377:
Groot schilderboek, waar in de schilderkonst in al haar deelen grondig werd onderweezen, ook door redeneeringen en printverbeeldingen verklaard; met voorbeelden uyt de beste konst-stukken der oude en nieuwe puyk-schilderen, bevestigd : en derzelver wel- en misstand aangeweezen, Volume
206:
successfully advised the
Elector to send 12 pieces back as forgeries. Fromantiou claimed the paintings were copies of Italian ones, and he could point out the originals in Holland. De Lairesse was one of 51 individuals involved because of their expertise.
1443:
Godefridi Bidloo, Medicinae
Doctoris & Chirurgi, Anatomia Hvmani Corporis: Centum & quinque Tabvlis Per artificiosiss. G. De Lairesse ad vivum delineatis, Demonstrata, Veterum Recentiorumque Inventis explicata plurimisque, hactenus non detectis,
727:
Godefridi Bidloo, Medicinae
Doctoris & Chirurgi, Anatomia Hvmani Corporis: Centum & quinque Tabvlis Per artificiosiss. G. De Lairesse ad vivum delineatis, Demonstrata, Veterum Recentiorumque Inventis explicata plurimisque, hactenus non-detectis,
357:(1683). After losing his sight, De Lairesse was forced to give up painting and focused instead on lecturing twice a week. De Lairesse explicitly states that despite his blindness, he was still able to design a perfect composition. He drew on two
398:
because they often portrayed everyday scenes and ordinary people such as soldiers, farmers, maids, and even beggars. In De
Lairesse's view, paintings ought to show lofty biblical, mythological and historical scenes, in the spirit of
315:, style fitted this age perfectly. It made him one of, if not the most popular painter in Amsterdam at that time. De Lairesse was therefore frequently hired to adorn the interiors of government buildings and homes (
1336:
Anatomia humani corporis, centum & quinque tabulis, per artificiossis. G. de
Lairesse ad vivum delineatis, demonstrata, veterum recentiorumque inventis explicata plurimisque, hactenus non-detectis,
435:... that a piece ten feet large, with life-size figures, should be viewed at ten feet distance, and that a smaller one five feet high, with life-size, half-length figures, must have five feet distance
1030:
1019:
307:
In
Amsterdam during the second half of the 17th century, the pious austerity of the Protestant Dutch in Rembrandt's age had given way to unbridled opulence, even decadence, and de Lairesse's
433:
Lairesse was cognizant of the problems posed by viewing paintings from a distance and drew connection between the hanging position and the scale and style of individual paintings. He noted
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1276:
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from 1660. In 1664 De Lairesse fled from Liège after an affair with two sisters, his models, led to difficulties. He travelled north with a girl named Marie Salme and married her in
970:
801:
646:, a book that was given to him by his brother, after returning from Italy. A versatile artist, De Lairesse also made many prints for book illustrations (e.g. for the poet
689:
of the republic. They were created for Andries de Graeffs 'Sael' at his mayor's residence in Amsterdam. The ceiling paintings now adorn the Ferdinand Bol room at the
216:, which seems to have gathered in his house from 1676 until 1681. In 1682 he sold copies of sheet music composed by Lully. In May 1684 he rented the nearby house of
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produce art that exerts a strong effect on the mind of the spectator. It is based on knowledge, understanding, power of judgement, and natural gifts.
1520:
1280:
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1431:
1085:
T. Lubbers, 'Art for the Court: A new interpretation of Gerard de Lairesse's paintings for the Court of Appeal of Holland (1688-1689)',
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361:
and was assisted by his audience and his son Johannes who collected their notes. After several years two books on art were published:
199:
1067:
J.H. GISKES (1994) Amsterdam, centrum van muziek, muzikanten en schilders in de Gouden Eeuw, pp. 51–54. In: Jaarboek Amstelodamum.
974:
1530:
1110:
Fifteenth- to Eighteenth-century European Paintings, p. 144. by Metropolitan Museum of Art (New York, N.Y.), Charles Sterling
1212:
999:
75:
painter and art theorist. His broad range of skills included music, poetry, and theatre. De Lairesse was influenced by the
1111:
828:
140:
1490:
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445:
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Lammertse, F. & J. van der Veen (2006) Uylenburgh & Zoon. Kunst en commercie van Rembrandt tot Lairesse, p. 217.
1480:
559:
264:
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and was the second son of painter Renier de Lairesse (1597–1667). He studied art under his father and from 1655 under
1450:
329:
ceilings and wall paintings. Some of these paintings still exist in the original buildings where they were painted.
535:, 11th Edition (1911) gave no listing at all for De Lairesse, while devoting four pages of solid text to Rembrandt.
503:
was one of his best pupils. According to the Netherlands Institute for Art History (RKD), his pupils also included
231:
between 1676 and 1683. In 1684 he moved to the Hague and worked there for a year. In 1685 he painted works for the
1495:
345:
which the disease gave him is clearly visible on the portrait which Rembrandt painted of him around 1665 and the
787:
191:
and probably Anthonie Claesz de Grebber in Uylenburgh's studio. In 1670 a son, Abraham, was born; the engraver
29:
1515:
255:
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543:
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Jan Joseph Marie Timmers (1942) "Gérard Lairesse", coll. "Academisch proefschrift Nijmegen, 1", Amsterdam.
1525:
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586:
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was the highest of genres. "A good painting has a clue, indicating what holds the composition together."
301:
172:
183:, where a son was baptized in April 1665. When his talent as an artist was discovered by the art dealer
1424:
1200:
987:
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281:
134:
48:
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210:
Some time later De Lairesse moved to Spinhuissteeg where he became a member of the literary society
711:
520:
243:, presently known as the Lairesse room, with seven paintings with subjects from the history of the
122:
567:
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512:
1510:
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1301:
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508:
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195:, with whom he collaborated, was the witness at the baptism; another son was baptized in 1673.
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of kitchen equipment and the spoils of the hunt, the picture of some maid, servant, dog or cat
1470:
496:
212:
184:
601:
1475:
1240:""Gerard de Lairesse: Heden en Toekomst", Amsterdam Centre for the Study of the Golden Age"
697:
354:
662:(1670), a series of prints based on the Italian statuary in Reynst's Amsterdam collection.
8:
571:
570:. In 2016–2017, an exhibition and conference dedicated to De Lairesse's work was held at
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338:
203:
37:
538:
Works by De Lairesse are now on display at many museums around the world, including the
296:. The French even nicknamed him the "Dutch Poussin", although he was also influenced by
1389:
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25:
1340:. Amsterdam: Sumptibus viduæ J. a Someren – via University of Toronto Libraries.
325:
187:, he moved to Amsterdam. De Lairesse arrived with his violin, with which he impressed
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and the works of art can be viewed as a visual statement opposing the return of the
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21:
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83:
67:
1404:, published by Henri Desbordes, Amsterdam, 1712, Digital version of the work on
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700:, who published a collected edition under the title 'Opus Elegantissimum' in
655:
524:
1405:
1186:
Public and Private Spaces. Works of Art in Seventeenth-Century Dutch Houses
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33:
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
992:
De groote schouburgh der Nederlantsche konstschilders en schilderessen
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99:
862:"Horton A Johnson, "Gerard de Lairesse: genius among the treponemes"
837:
608:(Triumph of Peace), ceiling painting in three parts, left to right:
575:
404:
107:
76:
714:, the Amsterdam theatre (after 1676 or 1681 when it was reopened).
292:, but later he focused on a more French-oriented style similar to
156:
312:
164:
176:
1419:
594:
547:
276:
468:. He also worked with many established artists of his day, as
235:. In 1688–1689, he decorated the civil council chamber of the
198:
In 1671, when Van Uylenburgh tried to sell 13 paintings to
98:. His importance grew in the period following the death of
1061:
939:
1701, full digital copy, Universitätsbibliothek Heidelberg
422:
tapestries or paintings on the wall with life size figures
114:(1707), were highly influential on 18th-century painters.
1227:
1501:
17th-century painters from the Prince-Bishopric of Liège
1122:
Vitenporträt Gérard de Lairesse (Academia 1683, Tafel 7)
849:
Lyckle de Vries "De Lairesse on the theory and practice"
386:
style used by Dutch Golden Age painters like Rembrandt,
1447:
105 illustrations by Gérard de Lairesse. Amsterdam 1685
1351:
Bidloo, Govard; Lairesse, Gérard de (30 August 2012).
464:(1707), were highly influential on later painters like
227:
De Lairesse produced paintings as decorations for the
1265:
Letje Lips (2009) "Barend Graat Amsterdam 1628-1709"
669:(Triumph of Peace) in 1671 for the Amsterdam regent
650:) (1668). Among other things, De Lairesse produced:
1323:
Ben Albach (1977) Langs Kermissen en Hoven, p. 123.
929:
927:
925:
1138:"Gerard de Lairesse: genius among the treponemes"
1131:
1129:
973:(in Dutch). Rijksmuseum Amsterdam. Archived from
947:
945:
909:
907:
905:
247:, all displaying a remarkable legal iconography.
1462:
922:
696:Most of his plates were originally published by
619:Well-known paintings by de Lairesse include his
341:, which caused him to go blind around 1690. The
480:, on larger commissions for house decorations.
319:) of wealthy Amsterdam businessmen with lavish
288:At first, De Lairesse was highly influenced by
1302:Restoration project Triumph of Peace completed
1126:
942:
902:
638:. Some of his paintings show influence by the
332:
483:De Lairesse attracted many pupils, including
374:("Great Book of Painting"), published in 1710
368:("Foundations of Drawing"), published in 1701
71:; 11 September 1641 – June 1711) was a
1456:Track on YouTube with many of his paintings
420:In the main reception room there should be
382:, De Lairesse expressed his disapproval of
1191:
1161:
885:
733:The shutters for the church organ in the
200:Frederick William, Elector of Brandenburg
102:. His treatises on painting and drawing,
866:Journal of the Royal Society of Medicine
600:
585:
444:
269:
254:
139:
121:
20:
1521:Walloon emigrants to the Dutch Republic
1184:Loughman, J. & J.M. Montias (2000)
1135:
859:
456:His treatises on painting and drawing,
450:Expulsion of Heliodorus from the Temple
82:and French classicist painters such as
1463:
1432:Allegory on Science at the Rijksmuseum
1355:detectis, Illvstrata (Amsterdam, 1685)
1332:
677:family's role as the protector of the
403:, who felt that a complex historical
66:
1213:Digital library for Dutch literature
1000:Digital library for Dutch literature
1279:. Triomfdervrede.nl. Archived from
1076:Maandblad Amstelodamum 1949, p. 59.
13:
1099:abstracts from C. A. Du Fresnoy.'"
794:Ontleding des menschlyken lichaams
428:. De Lairesse, for whom pictorial
265:Kelvingrove Art Gallery and Museum
117:
14:
1542:
1413:
1089:2019/132, issue 2/3, pp. 109-134.
1418:
800:
786:
770:
754:
224:and Louis Abry lived there too.
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1326:
1317:
1306:
1295:
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1232:
1217:
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1035:
1024:
1013:
424:... and in the kitchen, images
1004:
981:
963:
853:
822:
725:(1685). 105 illustrations in:
673:. The paintings glorified the
129:, 1671, ceiling painting for
30:portrait of Gerard de Lairesse
1:
1531:Scholars of Netherlandish art
953:Grondlegginge der teekenkonst
936:Grondlegginge ter teekenkonst
916:Grondlegginge ter teekenkonst
816:
701:
628:
458:Grondlegginge ter teekenkonst
366:Grondlegginge ter teekenkonst
104:Grondlegginge Ter Teekenkonst
41:
544:Amsterdams Historisch Museum
275:Venus Presenting Weapons to
7:
1358:. Digi.ub.uni-heidelberg.de
1136:Johnson, HA (24 May 2012).
860:Johnson, HA (24 May 2012).
717:A set of illustrations for
654:A set of illustrations for
636:Cleopatra Landing at Tarsus
621:Allegory of the Five Senses
333:De Lairesse as art theorist
302:Charles Alphonse du Fresnoy
261:Allegory of the Five Senses
173:Maximilian Henry of Bavaria
10:
1547:
1188:, p. 34, 41, 106, 117-118.
1154:10.1177/014107680409700616
988:Gerard de Laires biography
878:10.1177/014107680409700616
591:Hercules at the crossroads
552:Metropolitan Museum of Art
499:. According to Houbraken,
337:De Lairesse was born with
282:Museum Mayer van den Bergh
135:Metropolitan Museum of Art
49:Metropolitan Museum of Art
1481:Dutch Golden Age painters
1201:Biography of Jan Hoogsaat
560:National Portrait Gallery
558:in Washington, D.C., the
440:
779:Anatomia Humani Corporis
777:Anatomical drawing from
740:A portrait of the Dutch
723:Anatomia Humani Corporis
712:Schouwburg of Van Campen
665:Three ceiling paintings
581:
521:Bonaventura van Overbeek
250:
179:. The couple settled in
155:De Lairesse was born in
1388:, Jan van Broekhuizen,
1333:Bidloo, Govard (1685).
1277:"Triumph of Peace (en)"
1031:Amsterdam City Archives
1020:Amsterdam City Archives
919:1701, full digital copy
763:Signorum Veterum Icones
660:Signorum Veterum Icones
568:Cleveland Museum of Art
556:National Gallery of Art
533:Encyclopædia Britannica
513:Louis Fabritius Dubourg
462:Het groot schilderboeck
380:Het groot schilderboeck
372:Het groot schilderboeck
32:at age 25, showing his
1496:Writers from Amsterdam
1386:Gilliam van der Gouwen
1380:, Gérard de Lairesse,
746:William III of England
616:
614:The Hague Peace Palace
610:Unity; Freedom; Safety
598:
554:in New York City, the
509:Gilliam van der Gouwen
478:Frederick de Moucheron
453:
414:
285:
267:
152:
137:
68:[ʒeʁaʁdəlɛʁɛs]
52:
1427:at Wikimedia Commons
1394:David van Hoogstraten
934:Lairesse, Gérard de,
914:Lairesse, Gérard de,
744:and king of England,
604:
589:
497:Krzysztof Lubieniecki
448:
409:
273:
258:
213:Nil volentibus arduum
185:Gerrit van Uylenburgh
143:
125:
64:French pronunciation:
24:
1516:Dutch art historians
1491:Trompe-l'œil artists
971:"Gerard de Lairesse"
829:Gérard de Lairesse,
721:'s anatomical atlas
710:Set designs for the
698:Nicolaes Visscher II
355:Joachim von Sandrart
259:Gerard de Lairesse:
146:Allegory of sciences
144:Gerard de Lairesse,
90:and authors such as
60:Gérard (de) Lairesse
1486:Dutch male painters
1398:Johannes Vollenhove
977:on 10 October 2012.
572:Rijksmuseum Twenthe
566:in London, and the
517:Theodor Lubienitzki
491:, and the brothers
339:congenital syphilis
204:Hendrick Fromantiou
38:congenital syphilis
1526:Rembrandt scholars
1506:Dutch blind people
1425:Gerard de Lairesse
1400:, Abraham Alewyn,
1390:Jan Caspar Philips
1246:on 27 October 2018
1224:Gerard de Lairesse
1211:, courtesy of the
1043:"Triumpf of Peace"
998:, courtesy of the
958:Groot Schilderboek
831:Groot schilderboek
809:Groot Schilderboek
625:Diana and Endymion
617:
599:
546:in Amsterdam, the
505:Jacob van der Does
489:Simon van der Does
454:
392:Adriaen van Ostade
286:
268:
193:Abraham Blooteling
161:Bertholet Flemalle
153:
138:
112:Groot Schilderboek
53:
40:. Oil on canvas,
1423:Media related to
671:Andries de Graeff
351:Teutsche Academie
127:Apollo and Aurora
106:(1701), based on
1538:
1422:
1408:
1374:
1368:
1367:
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1299:
1293:
1292:
1290:
1288:
1273:
1267:
1262:
1256:
1255:
1253:
1251:
1242:. Archived from
1236:
1230:
1221:
1215:
1209:Arnold Houbraken
1199:
1195:
1189:
1182:
1176:
1175:
1165:
1133:
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1108:
1102:
1096:
1090:
1083:
1077:
1074:
1068:
1065:
1059:
1058:
1056:
1054:
1045:. Archived from
1039:
1033:
1028:
1022:
1017:
1011:
1008:
1002:
996:Arnold Houbraken
985:
979:
978:
967:
961:
949:
940:
931:
920:
911:
900:
899:
889:
857:
851:
846:
835:
826:
804:
790:
774:
758:
706:
703:
667:Triomf der Vrede
633:
630:
606:Triomf der Vrede
507:(the Younger),
474:Johannes Glauber
401:Karel van Mander
309:classical French
229:Soestdijk Palace
92:Pierre Corneille
73:Dutch Golden Age
70:
65:
46:
43:
1546:
1545:
1541:
1540:
1539:
1537:
1536:
1535:
1461:
1460:
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1411:
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1371:
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1359:
1349:
1345:
1331:
1327:
1322:
1318:
1311:
1307:
1300:
1296:
1286:
1284:
1283:on 1 March 2012
1275:
1274:
1270:
1263:
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1249:
1247:
1238:
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1233:
1222:
1218:
1197:
1196:
1192:
1183:
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1116:
1109:
1105:
1097:
1093:
1084:
1080:
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1062:
1052:
1050:
1049:on 29 June 2015
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1029:
1025:
1018:
1014:
1009:
1005:
986:
982:
969:
968:
964:
950:
943:
932:
923:
912:
903:
858:
854:
847:
838:
827:
823:
819:
812:
805:
796:
791:
782:
775:
766:
759:
704:
683:House of Orange
631:
584:
443:
388:Adriaen Brouwer
335:
294:Nicolas Poussin
253:
237:Hof van Holland
218:Caspar Barlaeus
169:Aix-la-Chapelle
163:. He worked in
133:, n° 539,
120:
118:Painting career
84:Charles le Brun
63:
44:
17:
12:
11:
5:
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1459:
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1453:
1448:
1439:
1438:by de Lairesse
1415:
1414:External links
1412:
1410:
1409:
1382:Philip Tideman
1369:
1343:
1325:
1316:
1313:British Museum
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872:(6): 301–303.
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807:Title page of
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799:
797:
792:
785:
783:
776:
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761:Title page of
760:
753:
750:
749:
738:
731:
730:Amsterdam 1685
715:
708:
694:
679:Dutch republic
663:
658:'s collection
583:
580:
550:in Paris, the
485:Jan van Mieris
442:
439:
376:
375:
369:
334:
331:
298:Pierre Mignard
252:
249:
245:Roman Republic
222:Philip Tideman
119:
116:
45: 1665–67
15:
9:
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16:Dutch painter
1471:1640s births
1442:
1417:
1406:Google Books
1372:
1362:15 September
1360:. Retrieved
1353:
1346:
1335:
1328:
1319:
1308:
1297:
1287:10 September
1285:. Retrieved
1281:the original
1271:
1260:
1248:. Retrieved
1244:the original
1234:
1219:
1204:
1193:
1185:
1180:
1148:(6): 301–3.
1145:
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1063:
1051:. Retrieved
1047:the original
1037:
1026:
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975:the original
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935:
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691:Peace Palace
687:Stadtholders
666:
659:
648:Andries Pels
639:
635:
624:
620:
618:
609:
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564:Tate Gallery
537:
532:
529:
501:Jan Hoogsaat
482:
470:Barend Graat
466:Jacob de Wit
461:
457:
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449:
434:
425:
421:
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379:
377:
371:
365:
359:chalk boards
336:
326:trompe-l'œil
324:
317:canal houses
306:
287:
274:
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226:
211:
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154:
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130:
126:
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103:
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55:
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18:
1476:1711 deaths
1142:J R Soc Med
1087:Oud Holland
956:(1701) and
705: 1675
644:Cesare Ripa
632: 1680
612:(1671/72),
540:Rijksmuseum
460:(1701) and
430:illusionism
343:saddle nose
189:Jan van Pee
150:Rijksmuseum
131:Herengracht
96:Jean Racine
88:Simon Vouet
80:Cesare Ripa
34:saddle nose
1465:Categories
1444:Illvstrata
1337:illustrata
1250:27 October
1207:(1718) by
1198:(in Dutch)
994:(1718) by
817:References
742:stadholder
735:Westerkerk
728:Illvstrata
640:Iconologia
396:Frans Hals
321:grisailles
233:Loo Palace
36:caused by
1436:grisaille
675:De Graeff
347:engraving
290:Rembrandt
284:, Antwerp
241:Binnenhof
100:Rembrandt
26:Rembrandt
1172:15173339
896:15173339
737:in 1686.
623:(1668),
576:Enschede
405:allegory
349:in the "
263:, 1668,
108:geometry
77:Perugian
1226:in the
1163:1079501
1053:26 July
887:1079501
811:, 1712
748:(1688).
597:, Paris
384:realism
313:Baroque
239:at the
181:Utrecht
165:Cologne
1170:
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960:(1707)
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834:, 1707
781:, 1685
765:, 1670
634:) and
595:Louvre
548:Louvre
493:Teodor
452:, 1674
441:Legacy
277:Aeneas
56:Gerard
582:Works
353:" by
311:, or
251:Style
157:Liège
1434:, a
1364:2012
1289:2012
1252:2018
1168:PMID
1055:2014
892:PMID
562:and
542:and
495:and
476:and
394:and
300:and
177:Visé
171:for
167:and
110:and
94:and
1228:RKD
1203:in
1158:PMC
1150:doi
990:in
882:PMC
874:doi
685:as
642:of
574:in
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