“The Forgotten, But Not Lost Artist”
Although most of the Yale Museum of Art was modern art, I was delighted to find work similar to that of Hendrik van Steenwyck the Younger. In fact, his painting depicting the interior of a church is what I aim to discuss, though I have misplaced the title of the piece! It was exceedingly difficult to find any information on Hendrik van Steenwyck, both the Elder or the Younger. However, I found they were both Dutch painters and concentrated on architectural interiors, specifically how torches and candlelight plays upon the walls. The Younger stressed a cooler tone throughout his work and lived from 1580 to 1649. He was the pupil of his father and although he has been referred to as “inferior” to his father’s work, I appreciate his perspective and talent very much. In that respect, I regard him as a more accomplished artist than his father since, throughout my investigations, I did not come across a single piece done by the Elder and anything visual was attributed to the Younger.
In the piece that the Yale Museum of Art I especially liked the emphasis and use of the arches and branched ceiling designs. I appreciated the fact that his painting of the interior of a church was just that. In other words, looking at so many religiously oriented works of art – you become accustomed to the excessive symbolism and it was refreshing to come across one that focuses more on the structure than the supposed function of the building. Granted, there is a scene of great religious significance in the slightly off-central room; however, the painting concentrates primarily on the architectural designs and lighting. The human images are dwarfed in comparison to the walls and vaulted ceilings, making the structure that much more impressive.
Another striking element of this painting is the extraordinary attention to detail. The ceiling, walls, picture-frames are adorned with golden accents and I could make out each individual tile on the floor. As the building continues in the background, no matter how dark those shadowed areas were, I could still discern the lines and shape of each arch. His use of light and shadow is astounding. The man in the foreground, on the left, holds a lantern by his leg, making bright circle of light on the floor around him – long shadows are cast in all directions. One feature of the painting that stands out in my mind is Steenwyck’s brushwork. I could not readily make out any brushstrokes; it’s amazing. The image looks like a snapshot, an actual photograph taken from a high vantage point – as if someone had removed a far wall from the church and allowed us to take a look inside like a gigantic dollhouse or movie set.
This is anything but a typical representation of a church or cathedral. The service is almost completely obscure and the shadowed areas of the painting attract most of the viewers’ attention. It’s inviting. Steenwyck’s interpretation makes a nonreligious person more comfortable because it is as if he’s depicting a scene, allowing everyone to partake in the experience. If you are so inclined, you can dwell on the lit room; however, if your faith or thoughts lie elsewhere, Steenwyck shows you a different kind of beauty than what is usually associated with religious settings. He depicts the magnificence and strength of the building. In that respect, it is more like a tribute to the structure and foundation of the architecture itself than addressing the fact that the scene really takes place in a church.
It is very disappointing that Hendrik van Steenwyck the Younger’s work is not more renowned. He commands the use of light and space, offering a different perspective on an old theme. He uses his passion for architecture to speak out to his audience. The people almost seem like an afterthought, to emphasize the remarkable structure they stand in.
Although most of the Yale Museum of Art was modern art, I was delighted to find work similar to that of Hendrik van Steenwyck the Younger. In fact, his painting depicting the interior of a church is what I aim to discuss, though I have misplaced the title of the piece! It was exceedingly difficult to find any information on Hendrik van Steenwyck, both the Elder or the Younger. However, I found they were both Dutch painters and concentrated on architectural interiors, specifically how torches and candlelight plays upon the walls. The Younger stressed a cooler tone throughout his work and lived from 1580 to 1649. He was the pupil of his father and although he has been referred to as “inferior” to his father’s work, I appreciate his perspective and talent very much. In that respect, I regard him as a more accomplished artist than his father since, throughout my investigations, I did not come across a single piece done by the Elder and anything visual was attributed to the Younger.
In the piece that the Yale Museum of Art I especially liked the emphasis and use of the arches and branched ceiling designs. I appreciated the fact that his painting of the interior of a church was just that. In other words, looking at so many religiously oriented works of art – you become accustomed to the excessive symbolism and it was refreshing to come across one that focuses more on the structure than the supposed function of the building. Granted, there is a scene of great religious significance in the slightly off-central room; however, the painting concentrates primarily on the architectural designs and lighting. The human images are dwarfed in comparison to the walls and vaulted ceilings, making the structure that much more impressive.
Another striking element of this painting is the extraordinary attention to detail. The ceiling, walls, picture-frames are adorned with golden accents and I could make out each individual tile on the floor. As the building continues in the background, no matter how dark those shadowed areas were, I could still discern the lines and shape of each arch. His use of light and shadow is astounding. The man in the foreground, on the left, holds a lantern by his leg, making bright circle of light on the floor around him – long shadows are cast in all directions. One feature of the painting that stands out in my mind is Steenwyck’s brushwork. I could not readily make out any brushstrokes; it’s amazing. The image looks like a snapshot, an actual photograph taken from a high vantage point – as if someone had removed a far wall from the church and allowed us to take a look inside like a gigantic dollhouse or movie set.
This is anything but a typical representation of a church or cathedral. The service is almost completely obscure and the shadowed areas of the painting attract most of the viewers’ attention. It’s inviting. Steenwyck’s interpretation makes a nonreligious person more comfortable because it is as if he’s depicting a scene, allowing everyone to partake in the experience. If you are so inclined, you can dwell on the lit room; however, if your faith or thoughts lie elsewhere, Steenwyck shows you a different kind of beauty than what is usually associated with religious settings. He depicts the magnificence and strength of the building. In that respect, it is more like a tribute to the structure and foundation of the architecture itself than addressing the fact that the scene really takes place in a church.
It is very disappointing that Hendrik van Steenwyck the Younger’s work is not more renowned. He commands the use of light and space, offering a different perspective on an old theme. He uses his passion for architecture to speak out to his audience. The people almost seem like an afterthought, to emphasize the remarkable structure they stand in.
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