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510:. In 1721 Arnold Houbraken recalled the latter painting as the largest and finest work by Metsu he had ever seen. Franits calls it one of his most intriguing images. What makes this painting especially interesting is its provenance. The provenance is well-known, except for between the years 1666 and 1706. In 1680, after the burial of his brother and guardian
335:
Around 1653–1654, Metsu began placing his figures in domestic interiors and specialized in genre scenes on small panels. Old people were among Metsu's favorite thematic borrowings from Dou during his first years in
Amsterdam. Metsu often painted young (single) women who either fed pets, sold goods at
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The scene is set in an imaginary room of unrealistically large proportions. The father gestures deferentially while a maid dutifully fetches a chair for this esteemed visitor. The chimney resembles the one in the "schepenzaal" of former
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Judith van Gent, p. 134-135, notes 20, 22. See also note 4 and check provenance. The "extraordinary pretty" painting was sold as no. 2 on 18 May 1706 bringing up 435 guilders; for most people in those days more than a year
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Houbraken ends his biography with the comment that he was "of impeccable reputation", but he may have meant this ironically. Often, the subject of a Metsu painting was based on a popular emblem from an
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at six in the morning.) Gabriel moved to a house on the canal side, where a daily vegetable market was held. In 1658 he married
Isabella de Wolff, whose father was a potter and mother the painter
1291:
Stone-Ferrier, L. (1989) Gabriel Metsu's
Vegetable Market at Amsterdam: seventeenth century Dutch market paintings and horticulture. In: Art Bulletin Jrg. 71 (1989), nr. 3 (September)
423:'s work. It also provides us with a hint about what he thought was lacking in Vermeer's paintings: emotional involvement of the viewer". This is in compliance with other painting,
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but the baptismal records did not survive. Gabriel grew up on Lange Mare and his stepfather, a skipper, must have supported his education, because his mother was a poor midwife.
210:, next to a brewery and near his relatives, the children of the sugar refiner Philips Metsu. In 1657 he got into an argument with a neighbor. (It was alleged that Metsu left a
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praised ", the characteristic movement and action of the dramatis personae, the selection of faces, the expression and the gesture, and the texture of the things depicted".
225:" from his native Leiden. Metsu was responding to the market of Dou's paintings, who sold his paintings all over for exorbitant prices. Metsu may have also influenced
114:. He was "a highly eclectic artist, who did not adhere to a consistent style, technique, or one type of subject for long periods". Only 14 of his 133 works are dated.
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In 1662 Jan Vos published a poem about this painting. It might depict the
Hinlopen family, but as the sitters have not been identified this painting it is more a
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1590 – 8 September 1651), the widow of a painter with three children of her own. It is not known when and where
Gabriel was baptized; most likely in a Catholic
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market (fruit, vegetables, fish, poultry, or meat), or were grocery-shopping themselves for these provisions. Another significant painting from this period was
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and he probably used the same model. He included several fine examples of minutely depicted floral and cloud band carpets in his works and even a silk
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1084:. I. A. Sokolova, Gosudarstvennyĭ Ėrmitazh, Metropolitan Museum of Art, Art Institute of Chicago, Gosudarstvennyĭ γErmitazh. New York. 1988.
1353:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Metsu (cat. no. 18)
1347:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Metsu (cat. no. 4)
454:" rugs which he for some reason, in contrast to his meticulous rendering of the floral carpets, depicted only in a very sketchy fashion.
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and painted his family more than once in a fashionable surrounding. There is still some confusion about two paintings by Metsu — the
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red, and shield-shaped. The dark blue color of the borders on the carpet are relatively unusual. The dog in the painting could be a
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1029:"E. de Jongh, 'Erotica in vogelperspectief. De dubbelzinnigheid van een reeks zeventiende-eeuwse genrevoorstellingen' · dbnl"
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the paintings were divided in lots and given to his daughters but none of the paintings or painters is mentioned.
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Waiboer, A. (2005) The early years of Gabriël Metsu. In: The
Burlington Magazine, No. 1223, Vol. CXLVII, p.80-90.
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Robinson, F.W. (1974) Gabriel Metsu (1629–1667) a Study of His Place in Dutch Genre
Painting of the Golden Age.
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Franits, W. (2008) Dutch seventeenth-century Genre
Painting. Its stylistic and thematic evolution, p. 183.
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Franits, W. (2008) Dutch seventeenth-century Genre
Painting. Its stylistic and thematic evolution, p. 182.
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on the table and the floor. The carpet on the table is divided into compartments, which are partly
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in the 18th century; he owned eight of them, including "man writing" and "woman reading a letter".
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Onno Ydema (1991) Carpets and their
Datings in Netherlandish Paintings, 1540 - 1700, p. 31, 32.
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where there is emotional involvement in the painting of a tragic event involving the ill woman.
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Le Temple des Arts ou Le Cabinet de M. Braamcamp By Jean François de Bastide (1766), p. 56-57
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Onno Ydema (1991) Carpets and their Datings in Netherlandish Paintings, 1540 - 1700, p. 123.
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Gillis van Breen after C. Clock. De vogelverkoper (gravure). Rijksprentenkabinet, Amsterdam.
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A. Waiboer, "Gabriel Metsu. Life and Work. A Catalogue Raisonné", New Haven 2012, p. 1.
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To an innkeeper, to whom I sell birds/that I have sex with the whole year through.
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Around the year 1661, Metsu won the patronage of the Amsterdam cloth merchant
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Liedtke, W. (2007) Dutch Paintings in The Metropolitan Museum of Art, p. 463.
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at Leiden, but in 1650 he ceased to subscribe. Metsu was possibly trained in
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RAU 67-59. Familiearchief Huydecoper, on 11/7/1679, 12/8/1679 and 2/22/1680.
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According to Stone-Ferrier, L. (1989), p. 448-452 it is where Metsu lived.
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At the onset of the 1660s Metsu turned for inspiration to the art of the "
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1284:. Vol. 18 (11th ed.). Cambridge University Press. p. 301.
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to a young girl in a symbolic pose that is based on a lewd engraving by
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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In 1648 Metsu was registered among the first members of the painters'
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This article incorporates text from a publication now in the
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Os, H. van (2002) Beeldenstorm in het Paleis op de Dam, p. 28-33.
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1588 – March 1629) a tapestry worker and painter originally from
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Metsu and the Hinlopen Family at Museum Geelvinck Hinlopen Huis
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Around 1655 Metsu moved to Amsterdam; he lived in an alley on
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One of the finest collection of Metsu paintings was owned by
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488:. There is some general resemblance. The latter belonged to
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Gabriël Metsu self-portrait, with his wife, in a inn (1661)
357:. This can give the painting a double meaning, such as in
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369 close to where Metsu lived between number 351 and 353
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2010 Metsu exhibition at the National Gallery of Ireland
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377:"Hoe duur dees vogel vogelaer?" "hy is vercocht" "waer?"
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thus alluded to his powerful role in local politics.
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382:How much for the bird, birdman? It's sold. Where?
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712:A Young Woman Composing Music and a Curious Man
1351:Dutch and Flemish paintings from the Hermitage
1081:Dutch and Flemish paintings from the Hermitage
62:Buried 24 October 1667 (aged 37–38)
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476:, which for a few decades was referred to as
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139:Gabriel Metsu was the son of Jacques Metsu (
1169:"The Visit to the Nursery by Gabriël Metsu"
478:The Family of burgomaster Gillis Valckenier
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951:has a portrait of Metsu and his wife.
1017:Digital library for Dutch literature
458:Two paintings of the Hinlopen family
1190:Houbraken 1718-1721, vol. 3, p. 41.
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931:"[ANONYMOUS] - Art Records"
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1047:"Young Woman with a Water Pitcher"
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1437:The Vegetable Market in Amsterdam
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300:, painted under the influence of
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898:(in Dutch). Archived from
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232:For a while Metsu trained
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1413:A Girl Receiving a Letter
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869:"Gabriel Metsu 1629—1667"
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651:Portrait of a Lady in Red
602:A Girl Receiving a Letter
559:Gabriël Metsu's paintings
304:. Under the influence of
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635:A Baker Blowing his Horn
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310:Woman taken in Adultery,
294:The Rich Man and Lazarus
1281:Encyclopædia Britannica
1009:Gabriel Metzu biography
890:Van der Hut, Margreet.
877:National Gallery of Art
345:Encyclopædia Britannica
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1495:Jacquemijntje Garniers
1469:Woman Reading a Letter
1181:Vos, J. (1662) p. 654.
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999:Waiboer 2012, p. 110.
896:Resources Huygens ING
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1564:Painters from Leiden
1554:Dutch genre painters
1501:Michiel van Musscher
1477:Woman in a Red Dress
1461:Man Writing a Letter
1421:The Herring Merchant
1340:Works and literature
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497:Visit to the Nursery
482:Visit to the Nursery
234:Michiel van Musscher
128:Man Writing a Letter
1549:Dutch male painters
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981:Waiboer 2012, p. 11
682:The Hinlopen family
486:Metropolitan Museum
425:The Doctor's Visit,
318:Dismissal of Hagar,
1322:2017-04-18 at the
902:on 3 November 2018
803:Lady at a Virginal
774:The Poultry-Seller
522:, also painted by
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360:The Poultry seller
324:, Leiden, and the
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131:(1662–1665) (
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904:. Retrieved
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1539:1667 deaths
1534:1629 births
789:Crucifixion
637:, c. 1660-3
622:, c. 1660–1
417: 1664
410:Rijksmuseum
355:emblem book
242:Nieuwe Kerk
112:genre works
104:still lifes
74:Nationality
1528:Categories
1056:2020-04-07
906:1 November
504:genre work
290:Gerard Dou
250:Zuiderkerk
198:, (1665) (
180:Jan Weenix
1509:(student)
1503:(student)
1405:Paintings
1108:cite book
935:frick.org
714:1662-1663
536:vermilion
484:— in the
306:Rembrandt
302:Jan Steen
252:in 1718.
246:Enkhuizen
202:, Dublin)
135:, Dublin)
108:portraits
66:Amsterdam
1497:(mother)
1320:Archived
1100:16950430
1033:dbnl.org
586:The Cook
528:seascape
508:portrait
394:—
145:Hainault
85:Painting
1488:Related
1326:(Dutch)
1269::
1252:Sources
1200:salary.
684:c. 1662
669:c. 1661
506:than a
444:carpets
438:Carpets
421:Vermeer
366:rooster
328:at the
320:in the
296:at the
212:brothel
191:pendant
172:Utrecht
1361:Art UK
1263:
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761:(1661)
731:, 1663
699:, 1663
654:, 1667
605:, 1658
588:, 1657
540:purple
480:, and
362:, 1662
314:Louvre
151:, and
149:Leiden
110:, and
48:Leiden
872:(PDF)
826:Notes
554:Works
452:lotto
412:from
168:guild
77:Dutch
1363:site
1143:ISBN
1118:link
1114:link
1096:OCLC
1086:ISBN
947:The
908:2018
408:in
236:and
189:The
178:and
118:Life
59:Died
44:1629
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