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521:. 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
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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
1302:
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)
434:'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.
221:, 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".
236:" 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
125:. 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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1095:. I. A. Sokolova, Gosudarstvennyĭ Ėrmitazh, Metropolitan Museum of Art, Art Institute of Chicago, Gosudarstvennyĭ γErmitazh. New York. 1988.
1364:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Metsu (cat. no. 18)
1358:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Metsu (cat. no. 4)
465:" 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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1040:"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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1295:. 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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499:. There is some general resemblance. The latter belonged to
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Gabriël Metsu self-portrait, with his wife, in a inn (1661)
368:. 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
398:"aen een waerdinne clear, die ick vogel tgeheele Jaer."
388:"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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393:How much for the bird, birdman? It's sold. Where?
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723:A Young Woman Composing Music and a Curious Man
1362:Dutch and Flemish paintings from the Hermitage
1092:Dutch and Flemish paintings from the Hermitage
73:Buried 24 October 1667 (aged 37–38)
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150:Gabriel Metsu was the son of Jacques Metsu (
1180:"The Visit to the Nursery by Gabriël Metsu"
489:The Family of burgomaster Gillis Valckenier
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962:has a portrait of Metsu and his wife.
1028:Digital library for Dutch literature
469:Two paintings of the Hinlopen family
1201:Houbraken 1718-1721, vol. 3, p. 41.
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942:"[ANONYMOUS] - Art Records"
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243:For a while Metsu trained
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880:"Gabriel Metsu 1629—1667"
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321:Woman taken in Adultery,
305:The Rich Man and Lazarus
1292:Encyclopædia Britannica
1020:Gabriel Metzu biography
901:Van der Hut, Margreet.
888:National Gallery of Art
356:Encyclopædia Britannica
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1506:Jacquemijntje Garniers
1480:Woman Reading a Letter
1192:Vos, J. (1662) p. 654.
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907:Resources Huygens ING
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1565:Dutch genre painters
1512:Michiel van Musscher
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1432:The Herring Merchant
1351:Works and literature
559:Visit to the Nursery
508:Visit to the Nursery
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245:Michiel van Musscher
139:Man Writing a Letter
1560:Dutch male painters
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693:The Hinlopen family
497:Metropolitan Museum
436:The Doctor's Visit,
329:Dismissal of Hagar,
1333:2017-04-18 at the
913:on 3 November 2018
814:Lady at a Virginal
785:The Poultry-Seller
533:, also painted by
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371:The Poultry seller
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523:Jacob J. Hinlopen
309:Strasbourg Museum
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142:(1662–1665) (
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1524:Fijnschilder
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915:. Retrieved
911:the original
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816:, 1660-1667
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101:
1550:1667 deaths
1545:1629 births
800:Crucifixion
648:, c. 1660-3
633:, c. 1660–1
428: 1664
421:Rijksmuseum
366:emblem book
253:Nieuwe Kerk
123:genre works
115:still lifes
85:Nationality
1539:Categories
1067:2020-04-07
917:1 November
515:genre work
301:Gerard Dou
261:Zuiderkerk
209:, (1665) (
191:Jan Weenix
1520:(student)
1514:(student)
1416:Paintings
1119:cite book
946:frick.org
725:1662-1663
547:vermilion
495:— in the
317:Rembrandt
313:Jan Steen
263:in 1718.
257:Enkhuizen
213:, Dublin)
146:, Dublin)
119:portraits
77:Amsterdam
1508:(mother)
1331:Archived
1111:16950430
1044:dbnl.org
597:The Cook
539:seascape
519:portrait
405:—
156:Hainault
96:Painting
1499:Related
1337:(Dutch)
1280::
1263:Sources
1211:salary.
695:c. 1662
680:c. 1661
517:than a
455:carpets
449:Carpets
432:Vermeer
377:rooster
339:at the
331:in the
307:at the
223:brothel
202:pendant
183:Utrecht
1372:Art UK
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742:, 1663
710:, 1663
665:, 1667
616:, 1658
599:, 1657
551:purple
491:, and
373:, 1662
325:Louvre
162:, and
160:Leiden
121:, and
59:Leiden
883:(PDF)
837:Notes
565:Works
463:lotto
423:from
179:guild
88:Dutch
1374:site
1154:ISBN
1129:link
1125:link
1107:OCLC
1097:ISBN
958:The
919:2018
419:in
247:and
200:The
189:and
129:Life
70:Died
55:1629
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