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 It might be outdated or ideologically biased.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 ?
2); the Marquand 'Cuyp', correctly identified by Wolfgang Stechow and the perceptive dealer Edward Speelman as the work of Jacob van Strij; the group of paintings by Jacob de Wit, which (surprisingly) caught the eye of Pierpont Morgan, who gave them in 1906; and the fine Interior of the Oude Kerk Delft by Emmanuel de Witte, purchased in 2001.
4), whose ecclesiastical pendant is an Interior of the Nieuwe Kerk in Delft with the tomb of William the Silent by Emmanuel de Witte. It may be inevitable that the creamy abstraction of Saenredam has been particularly admired in the century of Mondrian and even Jasper Johns, but it is hard to believe that a taste for this remarkable painter is a mere modish fad.