Gillis de Hondecoeter was a Dutch painter who was born into the artistic profession. The talent and love of painting would define the life of the family for generations to come. Sons followed with impressive success. His grandson Melchior perfected his talent and focused on animal painting. Melchior de Hondecoeter became probably the most famous animal painter in Europe in the 17th century. The painter's most popular subject was birds. Melchior was drawn to Amsterdam, a city that had become prosperous as a result of the Golden Age and was notable for its liberalism. In his new environment, Melchior devoted himself entirely to painting still lifes with animals and hunting motifs. He adopted the composition of the picture from his model Frans Snyder and began to place the birds in the center of the picture. No other artist had the skill to depict the plumage of the animals in such detail and vividness. Melchior de Hondecoeter quickly gained the attention of his fellow artists and wealthy patrons.
Melchior placed the depiction of feathered animals in the context of Baroque gardens and hunting grounds. An idiosyncrasy that earned the artist the nickname "Raphael of the Animals." The connection to Baroque splendor and prosperity can be traced to quite mundane circumstances. Art scholars are convinced that the painter really saw the animals. The movements, anatomy and plumage of the birds are far too authentic, which is why the artist's paintings cannot be based on stories and books. While his grandfather and also his father probably worked with a small gallows, Melchior probably observed the animals. Courtly animal husbandry became increasingly popular among aristocratic and wealthy contemporaries. Seafaring opened a world to the exotic, and while plants were collected in botanical gardens, animals lived at court in menageries. Rare animals could be observed in the royal menageries. Scholars suspect that Melchior had access to these often private keepings of animals through his patrons.
The wealthy society liked to surround themselves with animals. In addition to parrots, these included racehorses and hunting dogs, which were not supposed to lead an existence in hiding. The animals were painted and presented. The wealthier the client, the greater had to be the skill of the artist. Hondecoeter's talent was probably sufficient to open the doors of the noblest houses. The artist rarely depicted animals as still likenesses. Fighting birds and pointed scenes enliven the works with a certain dramaturgy. Intersecting objects at the edges of the picture create the impression of a snapshot. Melchior often combines native wildlife with unfamiliar fauna. Parks, landscapes and architecture become staffage for the actual protagonists, the birds.
Gillis de Hondecoeter was a Dutch painter who was born into the artistic profession. The talent and love of painting would define the life of the family for generations to come. Sons followed with impressive success. His grandson Melchior perfected his talent and focused on animal painting. Melchior de Hondecoeter became probably the most famous animal painter in Europe in the 17th century. The painter's most popular subject was birds. Melchior was drawn to Amsterdam, a city that had become prosperous as a result of the Golden Age and was notable for its liberalism. In his new environment, Melchior devoted himself entirely to painting still lifes with animals and hunting motifs. He adopted the composition of the picture from his model Frans Snyder and began to place the birds in the center of the picture. No other artist had the skill to depict the plumage of the animals in such detail and vividness. Melchior de Hondecoeter quickly gained the attention of his fellow artists and wealthy patrons.
Melchior placed the depiction of feathered animals in the context of Baroque gardens and hunting grounds. An idiosyncrasy that earned the artist the nickname "Raphael of the Animals." The connection to Baroque splendor and prosperity can be traced to quite mundane circumstances. Art scholars are convinced that the painter really saw the animals. The movements, anatomy and plumage of the birds are far too authentic, which is why the artist's paintings cannot be based on stories and books. While his grandfather and also his father probably worked with a small gallows, Melchior probably observed the animals. Courtly animal husbandry became increasingly popular among aristocratic and wealthy contemporaries. Seafaring opened a world to the exotic, and while plants were collected in botanical gardens, animals lived at court in menageries. Rare animals could be observed in the royal menageries. Scholars suspect that Melchior had access to these often private keepings of animals through his patrons.
The wealthy society liked to surround themselves with animals. In addition to parrots, these included racehorses and hunting dogs, which were not supposed to lead an existence in hiding. The animals were painted and presented. The wealthier the client, the greater had to be the skill of the artist. Hondecoeter's talent was probably sufficient to open the doors of the noblest houses. The artist rarely depicted animals as still likenesses. Fighting birds and pointed scenes enliven the works with a certain dramaturgy. Intersecting objects at the edges of the picture create the impression of a snapshot. Melchior often combines native wildlife with unfamiliar fauna. Parks, landscapes and architecture become staffage for the actual protagonists, the birds.
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