Dear Arthur,
Yes you are probably remembering the excellent 2003 book Picturing Men
and Women in the Dutch Golden Age by Klaske Muizelaar and Derek
Phillips, Yale Uni. Press and particularly Michiel van Musscher, A
Painter in his Studio, 1679, Rotterdam, Historisch Museum and the
inventory of his atelier which survives in the Gemeente Archives in
Amsterdam no. NAA 4864, akte 36, folio 81 ev.30 July 1699.
However I think the painting I discussed was simply copying the prop[s]
from Eglon van der Neer's works! The physical impossibility of holding
such a lute in such a position without grossly disturbing the diapason
strings makes me think that the painting has nothing to do with either
van der Neer or van der Werff. Plus all the other anachronisms!
Best wishes,
David
At 08:38 -0600 24/11/15, AJN wrote:
There are paintings of the interiors of artists' studios that
show
props used in pictures:
busts, skulls, ornate chairs, drapes and sometimes (iirc) musical
instruments. Such
props are even listed in tax inventories, I understand.
Art historians have traced some from painting to painting, e.g.,
an
ornate three-leg chair.
Instruments might serve, as perhaps is the case in this painting,
as symbols of the harmonious nature of love. The over reaction
of the
sitters in
this painting recalls, at least to me, the depictions of various
emotions illustrated in old treatises on acting. "Hamming it up"
seems
to have been part of theatrical performances
in the past. So, one might argue, this painting may have been
intended
as a serious depiction. Ad the angles of the
two instruments, as Gary notes, may have been foremost in the
artist's
plan.
On the other hand, musicians would surely demand precision in the
depiction of fingerings, holding the instrument, etc.,
because their professional competency might otherwise be
questioned.
Interesting discovery, David. I must visit your web page more
frequently. Arthur
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