Pieter Lastman
(1583 - 1633) |
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Secular Narratives, Historical Narratives Art Work
| Name: |
Pieter Lastman |
| Gender: |
Male |
| Place of Birth: |
Amsterdam |
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| Birth: |
1583 |
| Death: |
1633 |
| Website: |
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| Past Auctions: |
Click Here |
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Quick Facts
| Known For: |
Secular Narratives, Historical Narratives |
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| Fine Art Profession(s): |
Painting
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Biography
| One of the most important history painters of early seventeenth-century Holland, Lastman is best known for his contributions to the early development of Rembrandt and Jan Lievens, both of whom studied with Lastman after his return from Italy. Identified as a pre~Rembrandtist, Lastman deserves recognition for turning history painting away from the conceits and trivializations of the mannerists. He developed a narrative style based on careful reading of the text and a clear, comprehensible approach that uses composition, gesture, and figure placement to underscore the story's meaning. Lastman concentrated mainly on episodes from the Bible, mythology, or Roman history, and he usually chose to depict moments or situations when crowds (often placed in a landscape setting) respond to a highly charged situation (see his Nausicaa and Odysseus, dated 1619, Augsburg, Staatliche Gemdldegalerie, which shows him at the height of his narrative power). His Wedding Night of Tobias and Sarah (dated 1611, Boston, Museum of Fine Arts) demonstrates how his scrupulous reading of a biblical text resulted in an unusual and highly original treatment of the story. Last man's characters are human and generally unidealized, and his emphasis on the human and psychological elements of a story had a profound impact on his followers, particularly Rembrandt. Lastman was a pupil first of Gerrit Pietersz Sweelinck in Amsterdam. His early works show the influence of Goltzius,* Cornelis van Haarlem, and other mannerists. By 1603 Lastman was probably in Rome, having gone there most likely by way of Venice. In Rome he encountered the works of Adam Elshcimcr,* whose dramatically lit nocturnal scenes and landscape settings impressed him, as did the pictures by Caravaggio* and the Carracci.* The heroic and sculptural form found in Last man's male figures reflect his interest in the Carracci, while his injection of humble details (dirty feet, coarse character types and features) were in part inspired by Caravaggio. By 1607 Lastman was back in Amsterdam, where he remained until his death. He was successful in his own day (van Mander praised him) and his work sold well at auction. The importance of Italy to Lastman is indicated by the faa that he often signed himself Pietro Lastman. He apparently never married. His studio attracted numerous students, among them, of course, Lievens, around 1617, and Rembrandt, who spent six months with Lastman around 1623. Lastman *s career is notable in that few of his works were done on commission. Only three known works were commissioned by the Danish king in 1619 (these were later destroyed). Thus, Lastman had the unusual freedom of choosing subjects to suit himself. Last man's earliest works executed after his return from Italy in 1607 show the influence of Elsheimer, often using landscape to help set the mood. Around 1610 his style changed, concentrating more on figures, often crowded together and arranged to underscore the narrative meaning. His images tend to be evenly lit and sport lovingly rendered details of architecture, plants, weapons, utensils, and objects of precious metal. Adam van Vianen's silver ewer of 1614, an object other painters had depicted, also crops up in Lastman's paintings. To some scholars his work is strongest between 1615 and 1625, after which a certain rigidity and lack of plasticity is evident. Lastman's earliest dated work is the Adoration of the Magi (dated 1606, Prague); his last known work is Triumph of Joseph (dated 1631, San Francisco, M. H. de Young Museum). Among his contributions are his experiments with "shepherd pieces" around 1610, a theme that remained an isolated phenomenon in Amsterdam, while Bloemaert's* later treatments of the subject in Utrecht were more influential. |
Samples of Work
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