Ζεράρ ντε Λαιρές: Διαφορά μεταξύ των αναθεωρήσεων
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Γραμμή 15:
==Καλλιτεχνική σταδιοδρομία==
===Ύφος===
Στο Άμστερνταμ, η λόγω θεοσεβείας λιτότητα και απουσία αντικειμένων πλούτου στις απεικονίσεις της προτεσταντικής Ολλανδίας της εποχής του Ρέμπραντ είχαν αντικατασταθεί από αχαλίνωτη πολυτέλεια και το κλασικό γαλλικό ύφος του ντε Λαιρές σε συνδυασμό με το ύφος μπαρόκ ταίριαξαν απόλυτα στην εποχή. Το γεγονός αυτό τον έκανε έναν από τους, αν όχι τον, πλέον δημοφιλείς ζωγράφους στο Άμστερνταμ. Για τον λόγο αυτόν ο ντε Λαιρές συχνά αναλάμβανε να διακοσμήσει το εσωτερικό κυβερνητικών κτιρίων
<!-- ==Painting career==
In Amsterdam during the second half of the 17th century, the pious austerity and embarrassment of riches of the Protestant Dutch in Rembrandt's age had given way to unbridled opulence, even decadence, and de Lairesse's [[classical French]], or [[Baroque]], style fitted this age perfectly. It made him one of, if not ''the'' most popular painter in Amsterdam. De Lairesse was therefore frequently hired to adorn the interiors of government buildings and homes ([[canal house]]s) of wealthy Amsterdam businessmen with lavish [[grisaille]]s, [[trompe l'oeil]] ceiling and wall paintings. Some of these paintings still exist in the original buildings where they were painted, but others were sold and can be seen on different spots.▼
[[File:1671 Gérard de Lairesse - Apollo and Aurora.jpg|thumb|''Apollo and Aurora'', 1671, ceiling painting for ''Herengracht'', n° 539, [[Metropolitan Museum of Art]]]]
[[File:Gerard de Lairesse - Allegorie op de Wetenschappen - Google Art Project.jpg|thumb|Gerard de Lairesse, ''Allegory of sciences'']].
Γραμμή 29 ⟶ 38 :
[[File:16xx Gérard de Lairesse - Venus Presenting Weapons to Aeneas 0.jpg|thumb|''Venus Presenting Weapons to [[Aeneas]]'', [[Museum Mayer van den Bergh]], Antwerp]]
▲At first, De Lairesse was highly influenced by [[Rembrandt]], but later he focused on a more French-oriented style similar to [[Nicolas Poussin]].<ref>The principles of drawing : or, an easy and familiar method whereby youth are directed in the practice of that useful art. Being a compleat drawing book: ... To which is prefix'd, an introduction to drawing; ... Translated from the French of Monsieur Gerard de Lairesse, and improved with abstracts from C. A. Du Fresnoy.'"[http://www.worldcat.org/title/principles-of-drawing-or-an-easy-and-familiar-method-whereby-youth-are-directed-in-the-practice-of-that-useful-art-being-a-compleat-drawing-book-to-which-is-prefixd-an-introduction-to-drawing-translated-from-the-french-of-monsieur-gerard-de-lairesse-and-improved-with-abstracts-from-c-a-du-fresnoy/oclc/690465329/editions?referer=di&editionsView=true]</ref> The French even nicknamed him the "Dutch Poussin", but he was also influenced by [[Pierre Mignard]] and [[Charles Alphonse du Fresnoy]].
▲In Amsterdam during the second half of the 17th century, the pious austerity and embarrassment of riches of the Protestant Dutch in Rembrandt's age had given way to unbridled opulence, even decadence, and de Lairesse's [[classical French]], or [[Baroque]], style fitted this age perfectly. It made him one of, if not ''the'' most popular painter in Amsterdam. De Lairesse was therefore frequently hired to adorn the interiors of government buildings and homes ([[canal house]]s) of wealthy Amsterdam businessmen with lavish [[grisaille]]s, [[trompe l'oeil]] ceiling and wall paintings. Some of these paintings still exist in the original buildings where they were painted, but others were sold and can be seen on different spots.
==De Lairesse as art theorist==
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