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Nicolaes Maes17th century portrait of a ladycirca 1667
circa 1667
About the Item
Portrait of a lady richly dressed in a purple silk gown with white sleeves, a gold coloured cloak draped across one shoulder, her blonde curls worn up with ringlets falling down either side, wearing pearl drop earrings and a pearl necklace. Set into a feigned oval.
Oil on canvas in a period giltwood frame, 53 x 44.5cm (in frame)
Provenance: Private collection, Belgium
Although the identity of the sitter is unknown, she is likely to have been from one of the wealthy merchant families in Amsterdam (known as 'burghers') who were keen to show their new found wealth and status through commissioning fashionable portraits of their family members. This portrait dates from the late 1660's when Maes was at the height of his career, when having a portrait painted by him was seen as most prestigious.
Nicolaes Maes was one of Rembrandt's most talented pupils. As a boy of about thirteen or fourteen, he left his parents' home in Dordrecht to serve his apprenticeship with the master in Amsterdam. He spent four or five years in Rembrandt's workshop, returning to Dordrecht in 1653 as a fully-fledged artist. Maes started out as a ‘history’ painter, following in Rembrandt's footsteps, but he soon switched the focus of his activities to genre painting of intimate and detailed domestic scenes. In a short period between 1654 and 1658 he was one of the most innovative painters in this field. His skill at representing an interior as a suite of rooms rather than a three-wall, one-room enclosure, and the true-to life details and intimate nature of his paintings had great impact on the Delft painters Johannes Vermeer and Pieter de Hooch.
In the 1660s, however, Maes began to turn more to portraiture, and after a visit to Antwerp around the middle of the decade his style changed dramatically. He abandoned the reddish tone of his earlier manner for a wider, lighter and cooler colour palette, and the fashionable portraits he now specialised in were closer to those of Van Dyck than to Rembrandt.
Arnold Houbraken's 1721 biography described the transformation: Maes "learned the art of painting from Rembrandt but lost that way of painting early, particularly when he took up portraiture and discovered that young ladies preferred white to brown."
Maes painted his first portraits in 1655, and shortly before 1660 he stopped painting genre works and other paintings altogether, concentrating solely on portraiture, eventually developing a colourful and elegant style that appealed to a broad circle of wealthy clients in Dordrecht, Amsterdam and beyond.
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- Creator:Nicolaes Maes (1634 - 1693, Dutch)
- Creation Year:circa 1667
- Dimensions:Height: 53 in (134.62 cm)Width: 44.5 in (113.03 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bath, GB
- Reference Number:1stDibs: LU95211819302
Nicolaes Maes
Nicolaes Maes was a Dutch Golden Age painter of genre and portraits. He was born in Dordrecht, the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648, he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653, Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of color, like The Reverie at the Rijksmuseum in Amsterdam, The Card Players at the National Gallery, and The Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655–65, Maes devoted himself to the domestic genre on a smaller scale, retaining to a great extent the magic of color he had learned from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. Maes had a particular fascination with the subject of lacemaking and made almost a dozen versions on this subject. While he continued to reside in Dordrecht until 1673, when Maes settled in Amsterdam, he visited or even lived in Antwerp between 1665–67. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. His registered pupils were Justus de Gelder, Margaretha van Godewijk, Jacob Moelaert, and Johannes Vollevens. Maes died in Amsterdam. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is The Inquisitive Servant of the Six collections. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover, Ottawa and Munich galleries.
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