By Jay Richard Judson
Gerrit van Honthorst (1590-1656), identified at the present time basically for his candlelight scenes, was once additionally well-known throughout the 17th century for his mythological and old work, and used to be a favourite of the courts 1 in England, Denmark and the Netherlands. it truly is my goal the following to check his oeuvre so one can be certain his contribution to the improve ment of Dutch portray at the moment. In discussing Honthorst, i've got selected purely these work that are autograph to prevent basing conclusions upon works of questionable attri bution. the matter work which i've got determined to be from his hand can be taken care of within the Catalogue Raisonne. i've got handled Honthorst's portraiture in basic terms in as far as it looked to be of value for brand new traits in Dutch portray. the elemental fabric relating Honthorst was once first released by way of seasoned fessor G. J. Hoogewerff in 3 articles for Onze Kunst in 1917. during this sequence of articles Professor Hoogewerff validated a chronology of Hont horst's Italian works and gave a few indication of his stylistic improvement.
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He used the samepink base and green shadows for the texture of human skin and brought life to the musdes by contrasring the Museum, Berlin (no. 1874), one findsjoseph seated before a workbench with the Christ Child standing to one side. Joseph does not appear to be instructing Christ, but it is much the same idea (See F. Winkler, Altdeutsche Tafelmalerei, Munich, 1941, p. ). In the Merode altarpiece of ca. 1425, one also finds J oseph doing carpentry. This type of scene is continued in the early sixteenth century by Albrecht Dürer in his woodcut of the Rest on the Flight Into Egypt from tbe Life of the Virgin series.
1 There is one light source, a candle held by a kneeling man between the two principal figures of the scene. Although the colors are different 1 W. Arslan, op. , p. 343, does not accept the Christ Before Pilate in the Pitti Palace as a work by Jacopo Bassano, but with some reservations, gives it to Paolo Fiammingo.  and the painting has many more figures, the basic theme is similar enough for one to suppose that it might have influenced Honthorst. In the Pitti painting the soft orange glow and the light from the candle, adhering to the lifelike forms and helping to create them, remind one of both Caravaggio and Honthorst.
23] power upon J esus' ehest and shoulder, illurninating all the obstacles lying in its path, in the Baptist's martyrdom the main source of light is behind the saint and, therefore, creates shadows in the areas out of range of the torch. John the Baptist; the position ofChrist's head and the feeling of impending martyrdom attained by His downward and forward leaning pose is echoed in the later work. The more one studies the painting in Sta. Maria in Aquiro, the clearer it becomes that it precedes the one in Sta.