Claes Cornelisz. Moeyaert
(1590 - 1655) |
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Mythological Narratives, Secular Narratives, Art Work
| Name: |
Claes Cornelisz. Moeyaert |
| Gender: |
Male |
| Place of Birth: |
Durgerdam |
| Nationality: |
Dutch |
| Birth: |
1590 |
| Death: |
1655 |
| Website: |
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| Past Auctions: |
Click Here |
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Quick Facts
| Known For: |
Mythological Narratives, Secular Narratives, |
| Medium: |
Oil |
| Method: |
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| Style: |
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| Fine Art Profession(s): |
Painting
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Biography
| Generally classed among the Amsterdam pre-Rembrandtists, a group that included Pieter Lastman, the Pynas brothers, Jan Tengnagel, and Francois Venant, Moeyaert was exceptional for his productivity, for his involvement with portraiture as well as histories (the more common subject for his circle), and for living long enough to witness and respond to Rembrandt's maturity. If Moeyaert is to be properly understood, however, his connection to Italy and, through Italy, to the artists inspired by Elsheimer,* Caravaggio,* and the Venetians must be considered. Moeyaert treated bacchic themes in a manner that might have inspired Moyses van Uyttenbroeck* and handled nude figures in a way that probably influenced artists such as Jan van Bronckhorst.* While Moeyaert's teacher in Amsterdam is unknown, it is thought that he must have had early training in Amsterdam, since his father resettled the family there when Claes was fourteen. The style of his early works has convinced many scholars that he traveled to Italy, though he might have come to know the work of Elsheimer and other Ualianate artists through Lastman and the Pynas brothers. No document for Moeyaert*s Italian travels has come to light. Lastman and Jan Pynas served as his sourc his career, and later on he evidently did more than glance at Rembrandt. Moeyaert must have been successful at an early age, since Knight Rodenburgh mentions him among the city's famous artists in 1618. The previous year Moeyaert had married Griete Claes and they had four children. Dated works are known from 1624 to 1653, and the earliest of these, including his noted Triumph of Bacchus (dated 1624, The Hague, Mauritshuis), already show a mature style inspired by Lastman, Elsheimer, and the Venetians. The solid conception of form and the smooth, even lighting and idealized figure types in Moeyaert's early paintings form an important link between the early Dutch classicists and those found later in the century, such as Gerard de Lairesse.* Moeyaert's Triumph of Bacchus also demonstrates an unaffected, earthy humor that is characteristic of Dutch painting during the early part of the century. A truly appealing picture, it proves that Moeyaert deserved his reputation as a famous artist of Amsterdam. Moeyaert concentrated mainly on histories, many chosen by himself, though he also had numerous commissions. His patrons included the Danish king, for whose palace he produced two large compositions taken from Danish history. He helped decorate the triumphal arch erected to celebrate Marie de'Medici's entry into Amsterdam in 1638. A Catholic, he had many connections with Catholic religious organizations that produced commissions for altarpieces and numerous portraits. He painted more portraits than any artist in his circle. In 1631 he painted a portrait oiSibrandus Sixtius (dated 1631, Amsterdam, Church of the Begijnhof), a famous priest in Amsterdam. Later in his life he produced three altarpieces: Birth of Christ, Crucifixion, and Assumption of the Virgin for the Church of the Begijnhof in Amsterdam. These pictures and others, such as his Calling of Matthew (signed and dated 1639, Braunschweig, Herzog Anton Ulrich Museum), reflect Moeyaert's absorption of Rembrandt. Such a drastic change in style places Moeyaert's later work among those of the large circle forming around Rembrandt and moves him far away from the classicizing tradition in which Moeyaert had begun. Nonetheless, Moeyaert evidently had greater success in his lifetime than did his more talented younger contemporary, Rembrandt. In 1639 and 1640 he also produced theater decorations, and we know he was a member of the Amsterdam theater's board of directors in 1640 and 1641. Moeyaert's work is similar to that of other Amsterdam pre- Rembrandtists in his choice of subject, his rejection of a mannerist style, and his use of sometimes crowded and somewhat literal treatments of narrative to tell his story. His handling of landscape has an affinity with Elsheimer, while his treatment of figures, particularly female nudes, has a sensuousness and idealism which was likely inspired by Italian painting and which differentiates him from his contemporaries in Amsterdam. Moeyaert is particularly celebrated as a draftsman and for his fine sense of light. His small bacchanals, which appear from 1624, are his best-known works. Filled with humor, these jolly images, crowded with figures and animals of all kinds parading through a landscape, have a fine sense of movement and a charming sense of the ridiculous. Moeyaert had an active studio with numerous pupils - including Salomon Koninck, Claes Berchem, Jacob van der Does, and Jan Baptist Weenix - indicating that his Italianate orientation was not lost on the next generation. A similarity in the treatment of animals between Moeyaert and Paul us Potter has led to the suggestion that he was Potter's teacher. Moyaert's success as a painter and his various inheritances made him a fairly wealthy man. On his death he not only owned several houses in Amsterdam and Haarlem but had various other investments and was able to provide his sons with lifetime pensions. |
Samples of Work
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