Dutch School, XVII century JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666), attributed. "Dutch city view". Oil on canvas.

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Oct 20, 2021

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• Lot Description
  Dutch School, XVII century JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666), attributed. "Dutch city view". Oil on canvas. Measurements: 61 x 99 cm; 75 x 112 cm (frame). This work is attributed to the Dutch painter Joost Cornelisz, whose productive corpus echoed the achievements of genre painting during the Dutch Golden Age. It is a theme frequently treated by the artist (a lively village view), achieving here to integrate with masterful naturalness the lively human groups in different levels of depth, through a skillful handling of lights and chromatic sieves, proportions and perspective. The houses, some of them stately, are lined up on both sides of the street to escape towards a bluish horizon. With descriptive eagerness, peasants and bourgeois are typified, thus distinguishing their different social backgrounds. Liveliness animates gestures and gestures. Vegetation abounds everywhere, softening the architectural geometry. Salmon-colored lights fluff the clouds in the limpid sky. Joost Cornelisz was a painter of the Dutch Golden Age. He is believed to have been born in Utrecht. It is possible that he spent some years in The Hague. The documentation starts in 1616 when he was enrolled as a master in the guild of St. Luke in Utrecht, of which in 1623, 1641 and 1642 he was elected dean. A respected member of his community, in 1638 he was elected regent of the Sint Jobs hospital, deacon of the Reformed Church in 1642 and officer of the schutterij or urban militia in 1650 and 1651. In addition, from 1665 to 1666 he was painter at the University of Utrecht. Prolific painter, the first known works, such as the Good Samaritan of the Centraal Museum of Utrecht, signed and dated 1617, in which it is clear the knowledge of the work of Jan van Scorel of the same subject, or The Seven Works of Mercy of the same museum, dated 1618, are great historical compositions of religious subject, a genre that he would never abandon (parables of the useless servant and the guest at the wedding, 1635, Centraal Museum; new version of the Seven Laws of Mercy, 1644, The Hague, Museum Bredius), but what is most repeated in his production are the urban landscapes or those located in small villages, with a wide avenue arranged diagonally and directed towards the depth, serving as a framework for the development of festive and market scenes or, more occasionally, with motifs of current events and battles. In this order, influences of the Flemish masters, both Pieter Brueghel the Elder and Pieter Brueghel the Younger, and his compatriot David Vinckboons, have been noted, although the finish of Droochsloot's works will never reach his mastery.
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