Adriaen Brouwer

Adriaen Brouwer ( * 1605 or 1606 probably in Oudenaarde, Belgium, † before February 1, 1638 in Antwerp) was a Flemish painter.

Life

About the childhood and youth of Brouwer is according to current knowledge, very little is known. It is believed emigration Brouwers in 1621 and 1626 can be documented Brouwer detected in Haarlem. Thus Brouwer was at least five, probably even ten years in Holland before he moved to Antwerp 1631/1632.

Brouwer held some time in Holland, and especially in Haarlem, where he studied with Frans Hals in 1628, and went in 1630 to Antwerp, where he was admitted to the Guild of St. Luke in 1631. Under the influence of Rubens, who highly appreciated his paintings and a number of them acquired for his art collection, he made his complexion from too great luminosity and clarity and transparency. In 1633 he was, probably for a political offense, in custody. From 1634 until his death in January 1638 ( plague ) he lived with the engraver Paul Pontius in Antwerp.

He painted only scenes from the farmers and tavern life, peasant dances, card players, smokers, drinkers and brawls, which are characterized by a great liveliness of the characteristics and by a sparkling genius of conception. In his lifetime his genre paintings, however, do not seem to have been very high in price, as it so fell into distress, that his wretched household, he was removed from his creditors in 1632.

Perhaps his lifestyle has contributed to its financial collapse. He has the young and the Dutchman Adriaen van Ostade, Cornelis and Herman Saftleven exercised a significant influence not only on his students Joos van Craesbeeck, but also to David Rijckaert, Teniers.

The style of his works suggests an influence of Frans Hals, but the origins are in the peasant Pieter Bruegel the Elder paintings Around 1620 this genre of Dutch painting was largely alien, if it was not maintained by Flemish artists who came to Holland. One of Brouwer's works of this period is the " Peasant Feast " ( Zurich, Kunsthaus ). The colors are used in broken complementary contrast most object- bound. The light makes the colors appear saturated, there are thus usually one or two figures accentuated in the foreground. Through the clear outlines of the figures, the composition is kept in balance. Brouwer's work stands out so clearly from that of his contemporaries. The focus on smaller groups of figures is substantially free of mannerist compositional schemes. Brouwer worked during his stay this display further from Holland as " Moerdijk farmers " (New York, San Marco Collection, Scarsdale ), can be seen in the figures in the picture. The color scheme is differentiated in favor of some leading notes. A common ocher tone bathes the characters in dim light. In one of his works, " publican " (Munich, Alte Pinakothek ), the impression is created as the main colors glowed from within itself mediated by the characteristic color qualities of each chiaroscuro painting is supported. Volatile painting, loose paint application are by Brouwers in Haarlem stay the technical design element. Rubens and Rembrandt Brouwer collected images. Once again, great attention was paid to his work with the advent of Impressionism.

Works (selection)

  • Portrait of Jan de Dood to 1630-1640, Museum Boijmans van Beuningen, Rotterdam
  • Wirtshausszene to 1624-25, Museum Boijmans van Beuningen, Rotterdam
  • Village Scene with drinkers, c. 1631-1635, Museo Thyssen- Bornemisza, Madrid
  • Sleeping Bauer, mid 1630s, Wallace Collection, London
  • Drinkers in the yard, Royal Museums of Fine Arts, Brussels
  • The flutist, Royal Museums of Fine Arts, Brussels
  • The feeling around 1635, Residence Gallery, Salzburg
  • Pancake Baker, 1625, Philadelphia Museum of Art, Philadelphia
  • The smokers or the farmers of Moerdijk, 1627-1630, Private Collection
  • Farmers in the backgammon game, about 1635, Museum of Fine Arts, Leipzig
  • Village inn, Bredius Museum, The Hague
  • The Card Players, Royal Museum of Fine Arts, Antwerp
  • Two farmers, Ashmolean Museum, Oxford
  • Interior of a Tavern, in 1630, Dulwich Picture Gallery, London
  • Young, a face -tapping, c. 1632/1635, National Gallery of Art, Washington, DC
  • Farmers carousing in an inn, Museum of Fine Arts, Boston
  • Flogging farmers, c.1625 - 1626, Mauritshuis, The Hague
  • Dunes, 1633-1638, Academy of Fine Arts, Vienna
  • Armed Peasants in an inn, circa 1630, Alte Pinakothek, Munich
  • Flogging farmers, 1631-35, Alte Pinakothek, Munich
  • Card playing farmers in a tavern, 1630 - 1640, Alte Pinakothek, Munich
  • Village bathhouse to 1631, Alte Pinakothek, Munich
  • Drinking and Smoking farmers, 1635, Alte Pinakothek, Munich
  • In the tavern, Alte Pinakothek, Munich
  • Dunes in the moonlight, 1635-1637, Gemäldegalerie, Berlin
  • The scuffle, 1630-1640, Pushkin Museum, Moscow
  • The bitter beverage, 1630-1640, Städel, Frankfurt am Main
  • The slaughter, 1630-1640, National Museum, Schwerin
  • Smallholder playing dice, 1630-1640, Gemäldegalerie Alte Meister, Dresden
  • Smallholder playing cards, 1630-1640, Gemäldegalerie Alte Meister, Dresden
  • Unpleasant father duties, Old Masters Gallery, Dresden
  • The smokers, about 1636, Metropolitan Museum of Art, New York
  • Farmer with a bird, Metropolitan Museum of Art, New York
  • Farmer's wife, a dog for fleas absuchend, 1626, Metropolitan Museum of Art, New York
  • Tavern scene, 1635, National Gallery, London
  • Four Pawns in a basement, about 1630, National Gallery, London
  • Singing Innkeeper, Hermitage, St. Petersburg
  • Tavern scene, 1634-1638, Hermitage Museum, St. Petersburg
  • Village Charlatan, 1625, Hermitage, St. Petersburg
  • Society playing, Rijksmuseum, Amsterdam
  • The drinker, Rijksmuseum, Amsterdam
  • The Smoker, Rijksmuseum, Amsterdam
  • The operation on the back, Stadel, Frankfurt am Main
31962
de