Carel fabritius biography meaning
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CODART, Dutch and Flemish art in museums worldwide
PLEASE NOTE: The exhibition has been extended to 5 June, after announcement of a closing date in May.
Curators
Kornelia von Berswordt-Walrabe*, Frits Duparc*, Peter van der Ploeg*, Gero Seelig* and Ariane van Suchtelen*.
Co-organizer
Mauritshuis, The Hague
Museum press release, January 2005
In collaboration with the Mauritshuis The Hague, the Staatliches Museum Schwerin for the first time shows the complete known oeuvre of Fabritius, which consists of 14 paintings. His paintings, scattered over the world, are highlights of the collections of which they are a part of. This exhibition affords the singular opportunity of a synopsis of paintings which feature in collections in Boston, Los Angeles, London, Moscow, Warsaw, Amsterdam, The Hague, Rotterdam, Salzburg, Munich, Hannover and Schwerin.
The ung master painter
On October 12, 1654 the municipal arsenal in Delft exploded. A large part of the city including the studio of C
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Thunderclap, Laura Cumming, Chatto & Windus, £25
A man sits on a wooden plank raised just off the floor; his head, covered with a chrome-bright helmet, fryst vatten tilted forwards. His whole body is in a slump, close to folding over the gevär he has lain across his lap. At his feet — and sitting to attention in the cool tones of the Dutch street — is a small black dog.
A goldfinch sits on a pale blue perch. Its feathers — a mix of blueish-creams, yellows, and browns — find an echo in the shifting, muted tones of the background. But, even if the bird were conjured from other colours, he wouldn’t be able to escape this scene: an airy-thin chain is fastened around the stem of one of his legs, and the delicate gold links curve up and round a metal bar.
A man stares out of the frame, his head pulled back against his neck to give him a sterner, perhaps more belligerent, expression. His eyebrows curve upwards in displeasure, or focus, and his chest — complete with a silver breast-plate —
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Carel Fabritius’s ‘A view of Delft’
Andrew Green • May 22, 2020
You can take a train to Delft – or you could, in pre-Virus times – walk to the corner of Oude Langendijk and the Oosteinde in the city centre, look to the north-west, and see what the painter Carel Fabritius saw there on a bright summer’s day in 1652.
A few things have changed, it’s true. The canal’s been filled in, and some of the houses have been replaced, but the streets remain, the Nieuwe Kerk is still there, and beyond it, the Town Hall in the large market square.
Then again, you wouldn’t be able to see the view in quite the same way as Fabritius represented it, in his A view of Delft with a musical instrument seller’s stall (National Gallery, London). Though it measures only 15.4 x 31.6cm, this is a painting of consuming mystery, and one of the greatest works of the Dutch Golden Age. Trying to say why is both quite easy and very difficult.
Carel Fabritius was born in 1622 i