Aert de Gelder

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Gelder, Aert (Arent) de


Born Oct. 26, 1645, in Dordrecht; died there Aug. 25, 1727. Dutch painter.

Gelder studied first in Dordrecht under S. van Hoogstraaten (about 1660) and later in Amsterdam under Rembrandt, whose last and most faithful pupil he became. His works in the 1670’s are democratic in spirit and are characterized by the emotional vividness of his subjects. His range of saturated browns and olives is accented with violet and orange hues (Ecce Homo, 1671, the Dresden Picture Gallery; Entrance to the Temple, 1679, the Mauritshuis, The Hague; and The Wandering Musician, the Hermitage, Leningrad). His paintings in the 1680’s and 1690’s, such as Lot and His Daughters (the Pushkin Museum of Fine Arts, Moscow), have an exotic elegance and sensitiveness and show delicacy in texture and color effects. In his later series of paintings of the Lord’s Passion, painted about 1715 (Aschaffenburg, Amsterdam, and Munich museums), fantastic and subjectivistic elements are found.


Lilienfeld, K. Arent de Gelder, sein Leben and seine Werke. The Hague, 1914.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
8) hangs for the first time opposite his self-portrait of around 1637, surrounded by a range of portraits of boys by Flinck (see below) and the Amsterdam painter Joan van Noort, along with young women attributed to Willem Drost and Aert de Gelder. Within this rich context, his highly sensitive portrait of Titus from his late period demonstrates Rembrandt's unsurpassed subtlety as a portrait painter.
Other pieces probe Ruskin's fallibility: Carlo Lauro explores Proust's desire for an untraumatized Ruskin objective enough to appreciate Rembrandt (one wonders, by the way, whether some childhood nightmare induced by Aert de Gelder's Jacob's Ladder in the Dulwich Gallery, a confection of excrement and egg-yolk 'known' to Browning and other contemporaries as Rembrandt's masterpiece, may not underlie this problem).
The vast majority of Rembrandt's pupils altered their style, with one notable exception, Aert de Gelder (1645-1727).
Rembrandt's loose technique was imitated closely by his pupil of this late period, Aert de Gelder, who here opts for more candid emotions in his scene of the brazen encounter between the Old Testament patriarch Judah and his daughter-in-law Tamar.