Angela Jager

Millions of paintings were produced in the Dutch Republic. The works that we know and see in museums today constitute only the tip of the iceberg — the top-quality part. But what else was painted? This book explores the low-quality end of the seventeenth-century art market and outlines the significance of that production in the genre of history paintings, which in traditional art historical studies, is usually linked to high prices, famous painters, and elite buyers. Angela Jager analyses the producers, suppliers, and consumers active in this segment to gain insight into this enormous market for cheap history paintings. What did the supply consist of in terms of quantity, quality, price, and subject? Who produced all these works and which production methods did these painters employ? Who distributed these paintings, to whom, and which strategies were used to market them? Who bought these paintings, and why?

Samlingskataloget er på engelsk. Mesterværker af berømte hollandske og flamske malere – Pieter Brueghel II, Rembrandt, Jan Steen, Meindert Hobbema og Cornelis de Vos m.fl. – udgør en væsentlig del af museets faste samling. For første gang i over et århundrede er disse 57 værker blevet grundigt undersøgt, hvilket har resulteret i det rigt illustrerede samlingskatalog 'Dutch and Flemish Painting at The Nivaagaard Collection'. Heri præsenteres resultatet af en omfattende kunsthistorisk og teknisk forskning, der byder på nye tilskrivninger og forbindelser, reviderede dateringer og en dybere indsigt i maleriernes tilblivelse, bevaring og position indenfor hollandsk og flamsk kunsts bredere historie. Derudover giver to essays en dybdegående udforskning af Johannes Hages (1842-1923) passionerede erhvervelse af disse værker og deres bemærkelsesværdige bevaringshistorie. Den smukt designede publikation er således en uvurderlig fremtidig ressource for både specialister og kunstelskere.

Millions of paintings were produced in the Dutch Republic. The works that we know and see in museums today constitute only the tip of the iceberg — the top-quality part. But what else was painted? This book explores the low-quality end of the seventeenth-century art market and outlines the significance of that production in the genre of history paintings, which in traditional art historical studies, is usually linked to high prices, famous painters, and elite buyers. Angela Jager analyses the producers, suppliers, and consumers active in this segment to gain insight into this enormous market for cheap history paintings. What did the supply consist of in terms of quantity, quality, price, and subject? Who produced all these works and which production methods did these painters employ? Who distributed these paintings, to whom, and which strategies were used to market them? Who bought these paintings, and why?