Emanuel De Witte

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 It might be outdated or ideologically biased.

Witte, Emanuel De


Born circa 1617, in Alkmaar; died 1692, in Amsterdam. Dutch painter. Worked in Rotterdam, Delft, and Amsterdam.

De Witte developed under the influence of C. Fabritius. He painted church interiors, impressive in their profound and serious moods and poetic sense of light and space (Interior of a Catholic Church, 1668, Mauritshuis, The Hague; The Inside of a Church, the Hermitage, Leningrad), and also fish-market scenes in port squares (The Market in the Port, circa 1668-69, Pushkin Museum of Fine Arts, Moscow; Market, 1679, Museum of Fine Arts, Leipzig). De Witte’s crowded market scenes are distinguished by the breadth and dynamism of treatment of space, fusing elements of genre, landscape, and still-life painting. The cold gray tone of De Witte’s paintings is enriched by color contrasts, strong high-lights, and subtle reflexes. De Witte’s work (he is one of the last Dutch realists of the 17th century), with its democratic feeling and dramatic tensions, was in sharp contrast with the tastes of bourgeois society; conflicts with bourgeois society ended in the suicide of the artist, who had become a pauper.


Manke, I. Emanuel de Witte. Amsterdam, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Questions of Faith juxtaposes views of the reformed interiors of Protestant churches (Emanuel de Witte's "Interior of the Oude Kerk, Delft," c.
(1.) The painting entitled Old Fish Market on the Dam was painted circa 1650 by Emanuel de Witte.
Among the color plates are two paintings by Emanuel De Witte (Interior of a Church and Interior of the Portuguese Synagogue in Amsterdam) and four paintings by Jacob van Ruisdael (Wheatfields, Landscape with Blasted Tree by a Cottage, and two renditions of The Jewish Cemetery).
Juxtaposing images such as Emanuel de Witte's Interior with a Woman Playing the Virginals cited above with information from inventories, published floor plans, and surviving homes, Willemijn Fock demonstrates that de Wine--and many other painters of domestic interiors--took imaginative liberties with decorative appointments, architectural materials, and room arrangement.
Although the paintings of Vermeer are often regarded as the culmination of realism in Dutch art, the exhibit will reveal how earlier artistic developments in Delft paved the way for the achievements of Vermeer and his celebrated colleagues--de Hooch, Carel Fabritius, Emanuel de Witte and others.