“Utrecht school”的意思、由来-百科全书

Utrecht school

art

principally a group of three Dutch painters—Dirck van Baburen (Baburen, Dirck van) (c. 1590–1624), Gerrit van Honthorst (Honthorst, Gerrit van) (1590–1656; see photograph-->

), and Hendrik Terbrugghen (Terbrugghen, Hendrik) (1588–1629)—who went to Rome and fell fully under the pervasive influence of Caravaggio's (Caravaggio) art before returning to Utrecht. Although none of them ever actually met Caravaggio (d. 1610), each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi (1580–1620/21), especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master's works.

Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.

Although Honthorst enjoyed the widest reputation at the time, painting at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group.

词条	Utrecht school
释义	Utrecht school art principally a group of three Dutch painters—Dirck van Baburen (Baburen, Dirck van) (c. 1590–1624), Gerrit van Honthorst (Honthorst, Gerrit van) (1590–1656; see photograph-->), and Hendrik Terbrugghen (Terbrugghen, Hendrik) (1588–1629)—who went to Rome and fell fully under the pervasive influence of Caravaggio's (Caravaggio) art before returning to Utrecht. Although none of them ever actually met Caravaggio (d. 1610), each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi (1580–1620/21), especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master's works. Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio. Although Honthorst enjoyed the widest reputation at the time, painting at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group.
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