Adriaan de Lelie (1755-1820)

An old woman frying pancakes on an open fire in a kitchen, a maid and children nearby; and An old man reading in an interior, with a maid ironing at a table nearby

细节

Adriaan de Lelie (1755-1820)
An old woman frying pancakes on an open fire in a kitchen, a maid and children nearby; and An old man reading in an interior, with a maid ironing at a table nearby
the second indistinctly signed and dated upper left A de Lel../A..
oil on canvas
60.2 x 52.2 cm a pair (2)

来源

J. Gildemeester, Amsterdam; Sale, 11 June 1800, lots 118/119 (° 700 to A. Delfos of Leyden)
J.P. van Lelyveld, 1929 (° 400)

出版

J. Knoef, Tussen Rococo en Romantiek, 1943, p.41, pp. 58/59, with ill.
A. Staring, 'De Beeldende Kunst in de achttiende eeuw', in H.E. van Gelder, Kunstgeschiedenis der Nederlanden, 1946, p.651, fig.649
C.J. de Bruyn Kops, 'De Amsterdamse verzamelaar Jan Gildemeester Jansz.', Bulletin van het Rijksmuseum, XIII, 1965, p.114, note 35
G.H. Vogel, 'Idylle statt Moral, Anmerkungen zu der Küchenstücken von Adriaan de Lelie, Kunstlicht, X, 1989, 1, pp. 31-37, figs.7 and 10
W. Loos, G. Jansen, W. Kloek, Het Galante Tijdperk, Rijksmuseum, 1995, under no.37

展览

Rotterdam, Museum Boymans, Cornelis Troost en zijn tijd, 24 July-15 September 1946, no.26

拍品专文

After the Tilburg born painter Adriaan de Lelie settled in Amsterdam in 1784, he found a benevolent maecenas in the person of the collector Jan Gildemeester. Both joined the drawing classes in the society Felix Meritis on the Keizersgracht (a gathering of which was depicted by De Lelie in the painting now in the Amsterdam Historisch Museum). On the occasion of the rebuilding of the Gildemeester's house on the Herengracht, De Lelie depicted its renowned picture, a painting now in the Rijksmuseum, Amsterdam (W. Loos, etc., op.cit., no.37). The first room in De Lelie's painting is hung with the 17th century picture; the room beyond displayed modern works, among which are the two paintings that form of the present lot. According to De Lelie's biographers Van der Eynden & Van der Willigen (1820, III, p.70) it was Gildemeester himself who encouraged De Lelie to paint domestic interiors. In so doing, Gildemeester indirectly contributed to the reappraisal of 17th century painting of low-life: it is clear that De Lelie sought inspiration in the work of 17th century genre painters. G.H. Vogel, loc.cit., points to similarities with the kitchen interiors of Brekelenkam, Duck and Adriaen van Ostade.

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