Van der Werf, Adrian

Adrian van der Werff (1659-1722). When one says the name of the Dutch painter Adrian van der Werf, there are few who have an association with a certain picture or even a school. At one time very famous, van der Werf now known only to a narrow circle of specialists in Dutch art. He was one of the most typical representatives of that era, which occurred after the flowering of Dutch art in the middle of XVII century. As an artist he was able, however, failed to rise above the average level of art, but instead became his spokesman.
Van der Werf was born in the vicinity of Rotterdam and spent all his life in this city. He first studied painting with Cornelis Pekole, and then have E. van der Neher. His teachers were contemporaries of the great painters of the wall, Terborch, Hals, Rembrandt, finally they were artists of one generation. Therefore A. van der Werf in some way learned the best techniques of their skill. This was aided by his natural talent. Results teachings were not long in coming: in seventeen van der Werf is a recognized historical painter.

At this time, Dutch painting is in decline. Have died Hals, Rembrandt, Vermeer, a few years will follow Steen, Terborch, de Hooch. The young artist clearly felt himself the heir of 'great generation' of Dutch painters, as their successors. But life is dictated by its. It is not only the habits and tastes of the Dutch themselves, changed the mood of the era. Cultural and political conditions prevailing in the country could no longer contribute to the flourishing of democratic art. On the contrary, everything was aimed at the prosperity of a formal academic style. Adrian van der Werff went to well-trodden path of glory and honor.

Basis befallen the Dutch art of change-in profound social changes of the Dutch society of the second half of XVII century. Even Rembrandt was largely a victim of these events. Their essence was as follows. What has been achieved by the revolution of the Netherlands in the XVI century, the democratic sentiment burghers, all these degenerates. Burghers, who are becoming richer, are beginning to look enviously at the aristocracy. They copy it, seeking the same luxury in manners, in dress, in the device of his life, in everyday life. This 'psevdoaristokratizm' becomes the dominant style of the era. Even Nicholas Mae, formerly a pupil of Rembrandt and master of scenes of domestic life, transformed into an elegant burghers claim artistic style. In the future, his continued endeavors Teniers the role of court painter, Frans van Miris his salon painting and serial imitator of French art Caspar Netsher. The result of this process was the final penetration of the ideas of French academic art in Dutch art.

In 1667 in Amsterdam settles Liц?ge master Gerard Lairesse, subsequently nicknamed 'the Netherlands Poussin'. He founded a new academic direction in painting, which deliberately contrasts the Dutch Realism. With its classic shape and professional on painting compositions Lairesse achieved great recognition. Feeling classicist, he formulated his theory of art 'books on art', published in 1707 in Amsterdam.

. The artist, in which contemporaries saw a brilliant representative of the new manners and who joined the elegant artistry of the best scenic traditions of his senior contemporaries, was Adrian van der Werff.

. Being famous, he drew attention Palatine John Wilhelm, who in 1696 passed through Rotterdam
. The latter commissioned a portrait of the artist and the track 'The Court of Solomon'. Filled orders van der Werff himself drove to the residence of Palatine-Dusseldorf and there was a huge success as the official portraitist.

Indeed, the portraits, most fortunate for van der Werf picturesque genre. Example of this, a brilliant self-portrait of the Amsterdam Reyksmuzeuma (1699). The artist depicted himself with a palette in his left hand and one of the portraits of his own performance in the right. The author demonstrates his work the viewer, as if to say: 'Look how they are alike! They like living! " And in fact, he animates his characters. They go to the canvas, becoming entangled in the folds of clothing its creator. Van der Werf is clearly proud of not only his film, but also himself. He portrays himself in the posture of this maestro, the noble aristocrat (four years after the writing of this self-portrait he really gave nobility). At a massive chain around his neck with a medal, which knocked Profile John Wilhelm, a sign of royal favor.

. And if the author of this self-portrait may be criticized for excessive coldness and formality, then, referring to the technique of execution pictures, one can only admire
. With the highest skill and faithfully reproduces the folds of a velvet cloak and a silk jacket, face and figure of the artist as portraits of characters, literally breathe life.

But Adrian van der Werff was not only potretistom. His brush paintings belong to the historical, mythological and biblical themes. In the Hermitage collection stored ten of his paintings. Moreover, such compositions van der Werf more academic and classical nature than his portraits, which are already discernible features of the rococo style.

Adrian van der Werff was a true son of his time. He was unable to overcome the coldness and callousness of the official art, and do not know whether he would like this. But his ability to reflect the reality was truly masterful. This artist over the head of the XVIII century anticipated the XIX century.