Perhaps somebody ordered this painting just to show, how some of his
social enemies try to look like civilized, just to mock them. Or perhaps
that couple did not pay properly to the painter for his work, and he
decided to revenge. And maybe the couple even did not get the insult?
Just a though,
Arto
On 24/11/15 20:47, Stuart Walsh wrote:
Somebody with the intention and the skill and knowledge to create a fake 17th
century Dutch master would surely have not included all the odd things that
David points to. Could the painting be the equivalent of a sort of folly?
-----Original Message-----
From: "David Van Edwards" <da...@vanedwards.co.uk>
Sent: ‎24/‎11/‎2015 17:22
To: "WALSH STUART" <s.wa...@ntlworld.com>
Cc: "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Another lute picture?
Dear Stuart,
No you're right. I cannot see how it could possibly be genuine. And I
thought I'd been pretty clear in the article, but maybe my lightly
ironic tone doesn't make it across the pond.
Best wishes,
David
At 17:08 +0000 24/11/15, WALSH STUART wrote:
On 24/11/2015 15:36, David Van Edwards wrote:
However I think the painting I discussed was simply copying the prop[s]
from Eglon van der Neer's works! The physical impossibility of holding
such a lute in such a position without grossly disturbing the diapason
strings makes me think that the painting has nothing to do with either
van der Neer or van der Werff. Plus all the other anachronisms!
Fascinating.
David, I read your interpretation as being much more sceptical about
this painting than the people who have so far contributed to this
thread. Am I wrong?
Stuart
Best wishes,
David
At 08:38 -0600 24/11/15, AJN wrote:
There are paintings of the interiors of artists' studios that
show
props used in pictures:
busts, skulls, ornate chairs, drapes and sometimes (iirc) musical
instruments. Such
props are even listed in tax inventories, I understand.
Art historians have traced some from painting to painting, e.g.,
an
ornate three-leg chair.
Instruments might serve, as perhaps is the case in this painting,
as symbols of the harmonious nature of love. The over reaction
of the
sitters in
this painting recalls, at least to me, the depictions of various
emotions illustrated in old treatises on acting. "Hamming it up"
seems
to have been part of theatrical performances
in the past. So, one might argue, this painting may have been
intended
as a serious depiction. Ad the angles of the
two instruments, as Gary notes, may have been foremost in the
artist's
plan.
On the other hand, musicians would surely demand precision in the
depiction of fingerings, holding the instrument, etc.,
because their professional competency might otherwise be
questioned.
Interesting discovery, David. I must visit your web page more
frequently. Arthur
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England.
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Website: http://www.vanedwards.co.uk
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