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The Eda G. Diskant Memorial Lecture
Curator Nicole Cook shares what led her to highlight Judith Leyster’s painting The Last Drop and other women artists in the installation What Can Paintings Tell Us? She is joined by scholar Frima Hofrichter, who charts Leyster’s career and her pioneering research that reintroduced this artist to history.
Speakers
Nicole Elizabeth Cook is Program Manager for Graduate Academic Partnerships at the Philadelphia Museum of Art. She holds a PhD in Art History with a specialization in early modern art.
Frima Fox Hofrichter is a professor at Pratt Institute in New York and author of Judith Leyster: A Woman Painter in Holland’s Golden Age and the forthcoming Women, Aging, and Art: A Crosscultural Anthology, among other titles.
About the Installation
What Can Paintings Tell Us? highlights discoveries from the museum’s recent research on several paintings from the 1400s through the 1700s. Featured are multiple works linked to female artists, including Judith Leyster, whose identity was lost and works misattributed for many years.
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Judith Leyster – Wikipedia
Judith Jans Leyster (also Leijster; baptised July 28, 1609 – February 10, 1660) was a Dutch Golden Age painter. She painted genre works, portraits and still …
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The Jester Reproduction For Sale | 1st Art Gallery
Get hand painted museum quality reproduction of “The Jester” by Judith Leyster. The Reproduction will be hand painted by one of our talented artist.
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Judith Leyster, The Lute Player, after Frans Hals, 1625
Sep 23, 2016 – Judith Leyster, The Lute Player, after Frans Hals, 1625. … Eduardo Zamacois y Zabala Court Jesters Playing Bowls Spain (1868) Oil.
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The Jester – (after) Judith Leyster – WikiGallery
The Jester – (after) Judith Leyster – WikiGallery.org, the largest gallery in the world: wikigallery – the largest virtaul gallery in the world with more …
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THE JESTER. Judith Leyster (1609-1660) – Media Storehouse
Prints of LEYSTER: THE JESTER. Judith Leyster (1609-1660): The Jester. Oil on canvas ♥ Framed, Prints, Puzzles, Posters, Canvas, Fine Art, Mounted, Metal, …
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주제와 관련된 더 많은 사진을 참조하십시오 Rediscovering Judith Leyster. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
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What is Judith Leyster known for?
Judith Leyster, (baptized July 28, 1609, Haarlem, Netherlands—buried February 10, 1660, Heemstede, near Amsterdam), Dutch painter who was one of the few female artists of the era to have emerged from obscurity. Among her known works are portraits, genre paintings, and still lifes.
What art style did Judith Leyster use?
Where is Judith Leyster from?
What medium did Judith Leyster use?
Judith Leyster, Self Portrait, ca. 1630, oil on canvas, 29.4″ × 25.6″. In 1892, a painting that had been attributed to Frans Hals for more than a century became the subject of a dispute between two English art dealers.
Why did Judith Leyster create a self-portrait?
In order to enter into the Guild, the artists should offer a masterpiece and Judith Leyster chose to offer a self-portrait where she is showing off her skills, reaffirming her condition of a women artist, a talented artist. She entered into the Saint Luke’s Guild in Haarlem as an independent master in 1633.
Who was Judith Leyster influenced by?
Leyster was particularly innovative in her domestic genre scenes, early on she was influenced by the Utrecht “Caravaggisti” (followers of Caravaggio). In her paintings, she sometimes created quiet scenes of women at home doing domestic work which were not a popular theme in Holland until the 1650s.
Who was the first artist to create paintings in the rococo style?
Jean-Antoine Watteau is credited with the birth of Rococo painting. Combining influences from Flemish master Peter Paul Rubens and Venetian Renaissance giants like Titian and Paolo Veronese with theater, Watteau created dynamic compositions in brilliantly articulated colors. He presented nature as idyllic and untamed.
How did Judith Leyster become famous?
…
| Judith Leyster | |
|---|---|
| Died | February 10, 1660 (aged 50) Heemstede, County of Holland, Dutch Republic |
| Nationality | Dutch |
| Known for | Painting |
| Notable work | The Proposition, 1631 |
Where was Judith Leyster’s portrait painted?
…
| Self-portrait by Judith Leyster | |
|---|---|
| Identifiers | RKDimages ID: 166670 |
| [edit on Wikidata] |
Where did Judith Leyster work?
In 1633, Leyster applied to join Haarlem’s Guild of St. Luke’s, an organisation for painters at the beginning of their careers. She was accepted into the guild and in that same year set up her own studio.
When did Judith Leyster become an artist?
Dutch Golden Age painter Judith Leyster (1609–1660) was quickly recognized as a rare talent in her native Haarlem. By just age 24 she had been admitted to the city’s prestigious painters guild.
Why was the Dutch middle class more able to afford art in the seventeenth century?
“A considerable proportion of inhabitants of Dutch towns had more than sufficient income to provide for their fundamental needs. Many chose to spend their surplus on furnishing for their homes, including pictures. This lead to a great demand for paintings at low prices.
What did Judith Leyster use on her paintings?
Perhaps tellingly, her latest known work is a silverpoint and watercolor drawing on vellum. Leyster was returned to her proper place among Dutch 17th-century artists following an English court case in 1892.
What does a Dutch genre painting feature?
Among the most memorable images of the Dutch Golden Age are the genre paintings by Johannes Vermeer and his contemporaries. Their elegant renderings of men and women writing letters, playing music, and tending to their daily rituals possess a humanity and immediacy that feel both relevant and yet timeless.
What is Tenebrism technique?
tenebrism, in the history of Western painting, the use of extreme contrasts of light and dark in figurative compositions to heighten their dramatic effect.
When did Judith Leyster become an artist?
Dutch Golden Age painter Judith Leyster (1609–1660) was quickly recognized as a rare talent in her native Haarlem. By just age 24 she had been admitted to the city’s prestigious painters guild.
Who was the first artist to create paintings in the rococo style?
Jean-Antoine Watteau is credited with the birth of Rococo painting. Combining influences from Flemish master Peter Paul Rubens and Venetian Renaissance giants like Titian and Paolo Veronese with theater, Watteau created dynamic compositions in brilliantly articulated colors. He presented nature as idyllic and untamed.
Where was Judith Leyster’s portrait painted?
…
| Self-portrait by Judith Leyster | |
|---|---|
| Identifiers | RKDimages ID: 166670 |
| [edit on Wikidata] |
Judith Leyster.png
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or fewer. You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. https://creativecommons.org/publicdomain/mark/1.0/ PDM Creative Commons Public Domain Mark 1.0 false false faithful reproductions of two-dimensional public domain works of art are public domain”.
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Judith Leyster | Biography, Art, Paintings, Self Portrait, & Facts
Judith Leyster, (baptized July 28, 1609, Haarlem, Netherlands—buried February 10, 1660, Heemstede, near Amsterdam), Dutch painter who was one of the few female artists of the era to have emerged from obscurity. Among her known works are portraits, genre paintings, and still lifes.
Leyster was the daughter of a brewer. She began to paint while still quite young, and by age 24 she had become a member of the Haarlem painters’ guild. Her subject matter embraced a greater range than was typical of Dutch painters of the era, and she was one of the first to exploit the domestic genre scene. She may have worked in Frans Hals’s shop, or, according to the poet Samuel Ampzing, she spent time with portrait painter Frans Pieterszoon de Grebber. She also was interested in the tenebrist style of the Utrecht school. She introduced light sources into her paintings, as in the lamp-lit The Proposition (1631). The majority of her dated works were painted between 1629 and 1635. In 1636 she married genre painter Jan Miense Molenaer and moved with him to Amsterdam.
Britannica Quiz Artists & Painters: Fact or Fiction? Do you think you know Fabergé, Monet, and Jackson Pollock? Discover how much you really know about their lives, inspirations, and works of art.
Many of Leyster’s works were in the past attributed to her male contemporaries. Among her best-known paintings are The Proposition, Carousing Couple (1630; also called The Happy Couple), and Boy Playing the Flute (c. 1635).
Who Was Judith Leyster? The Overlooked Women Artists of the Golden Age
Judith Leyster and the overlooked women painters of the Dutch Golden Age.
In 1892, a painting that had been attributed to Frans Hals for more than a century became the subject of a dispute between two English art dealers. The 1630 painting, known at various times in English as The Happy Couple or Carousing Couple, was typical Hals and Dutch Golden Age territory—a genre scene of a couple making merry in a tavern. Pink-cheeked, bemused, the woman raises a glass while her male companion sings and plays the violin. When the painting changed hands for forty-five hundred pounds, the buyer sued after discovering a signature other than Frans Hals right below the violinist’s shoe. It was a monogram nobody seemed to recognize: a conjoined J and L, struck through with a five-pointed star.
As a result of the court case’s publicity—the media has always loved it when art experts get it wrong—a Dutch collector and art historian, Cornelis Hofstede de Groot, recognized the monogram as belonging to Judith Leyster, one of the first women painters to be admitted to a Guild of Saint Luke in the Netherlands during the seventeenth century. Though she’d been praised by the observers and historians of her era, Leyster had essentially been erased from art history since her death in 1660. In 1648, when Leyster was not yet forty, the Dutch commentator Theodore Schrevel had noted, “There also have been many experienced women in the field of painting who are still renowned in our time, and who could compete with men. Among them, one excels exceptionally, Judith Leyster, called ‘the true Leading star in art.’ ” Since leyster means “lodestar” in Dutch, Schrevel enjoyed a pun to underscore his point.
Leyster, the eighth child of a brewer and cloth maker, had attracted attention for her conspicuous talents ever since her adolescence, but by 1892 she’d been cut from the bolt of Golden Age canvas. For more than two hundred years, her work was either unattributed or assigned to Frans Hals or her husband (Jan Miense Molenaer, also a painter). After Hofstede de Groot published a scholarly article on Leyster in 1893, seven more paintings assumed to be by Hals were correctly attributed to Leyster, six of them with her distinctive monogram. Meanwhile, the suing art dealer won the court case against the seller. The reattribution from Hals to Leyster knocked 25 percent off the final sales price. As Germaine Greer notes in The Obstacle Race: The Fortunes of Woman Painters and Their Work, “At no time did anyone throw his cap in the air and rejoice that another painter, capable of equaling Hals at his best, had been discovered.”
Frima Fox Hofrichter, an art historian who has devoted her career to Leyster’s work, first heard about Leyster’s rebirth into art history during a lecture in the early seventies. Almost twenty years later, Leyster became the subject for Hofrichter’s doctoral dissertation. “My sense that Leyster was forgotten, dismissed, overlooked, absent, and invisible engendered in me both indignation and a sense of mission. So my work began as an adventure. I was exploring unknown territory—trailblazing as a historian and a feminist. That was in the 1970s, when the world was different. It was not enough just to attribute paintings to her, though that was hard enough; I also had to address the question of their meaning. Where did Leyster fit in?”
That was a key question for me, too, as I began work on my new novel The Last Painting of Sara de Vos—a question that Hofrichter helped me refine over many emails and phone conversations. To the extent that I’ve found answers, they bear all the frailties and inventions of fiction.
*
Historical novelists, like art historians, are plagued by the ravages of paper. Mold, fire, silverfish, absentmindedness, overzealous spring cleaning—there are dozens of ways by which the letters, journals, receipts and ticket stubs of the past go missing. Thankfully, the Dutch Guilds of Saint Luke were meticulous record keepers. In Amsterdam, for example, the guild recorded membership lists and dues, the taxes it paid into a fund on behalf of the city’s orphans, and the fines it levied against citizens for the illegal sale of paintings—cheap imports from Antwerp, sold in taverns and at outdoor markets, were the scourge of the guild. It was possible to walk into an Amsterdam tavern, bakery, butcher, or grocer’s store in the seventeenth century and find every square inch of wall space covered in paintings. The Golden Age made trade in paintings a mass market, with an estimated fifty thousand painters at work across the seventeenth century. Each city’s guild wanted to ensure that the butcher and the burgher alike decorated his walls with bonafide product from its members. It was the ultimate “buy local” program.
Despite the guild’s bureaucratic prowess, there are whole swaths of records that have gone missing. Scholars have often had to piece together membership lists across the Netherlands from various other sources like meeting minutes and accounting ledgers. We know from these that dozens of women were admitted to a Guild of Saint Luke across the Netherlands during the seventeenth century. But because the guilds admitted, at various times, other artists—like embroiderers and engravers, chair painters and pottery painters—we can’t be certain of the exact number of canvas painters. (Metal and wood were also common mediums.) Sometimes a woman’s name is listed without her artistic specialization. Sometimes a woman is listed as the widow of a master painter but it’s noted that she “continues” in her dead husband’s line of work. It seems clear, though, that there were women painters admitted to a Guild of Saint Luke whose work we have never seen: not so much the missing daughters of the guild, but the missing female masters.
There’s some debate about the identity of the first woman to be admitted to a guild. Some sources claim it’s Judith Leyster, in 1633, and others claim that it’s Sara van Baalbergen, in 1631, whose medium is listed as oil paint by the Netherlands Institute for Art History. Like Leyster, she married a fellow artist. Unlike Leyster, none of her work has survived. In many ways, it was the combination of Leyster’s rediscovery and Van Baalbergen’s continued absence that spawned my desire to write a novel about an obscure but haunting golden-age painting. Sara de Vos is a character built out of gaps and silences.
Fifteen years ago, when I was living in Amsterdam, I knew very little about baroque women painters. Like many art tourists, I spent hours absorbing and communing with the iconic paintings of the Dutch Golden Age—the delicate blue hazes in a Rembrandt, the curtains burnished by northern light in a Vermeer, the brooding cloudscapes and russet waves in a Van Goyen. If I paid much attention to the meticulous floral still lifes of Rachel Ruysch, or the spectral vanitas paintings of Maria van Oosterwijck, or the vivacious genre paintings of Leyster, it was as a backdrop to the “prizefighters” of Golden Age painting. It’s ironic that baroque Dutch women appear in about forty of Vermeer’s paintings—more than two-thirds of his surviving works—while we know almost nothing of his female models or their female contemporaries who were master painters in their own right.
My awakening to the power of baroque women painters came unceremoniously, years ago, when I brought up a digital reproduction of Judith Leyster’s self-portrait, circa 1630, on the website of the National Gallery of Art in D.C. Even across the centuries and through the medium of a plasma screen, the portrait struck me as beautifully vibrant and welcoming. I felt as if I’d walked into Leyster’s studio on a sunny afternoon and she’d turned to take me in. Her lips are parted as if she’s about to speak. Her eyes are quick and vital. The brush in her right hand is held almost parallel to the violinist’s bow in the painting she’s working on at her easel, suggesting, perhaps, that music making and painting are deeply connected and ephemeral. There is something wonderfully meta and modern about this canvas of nearly four centuries, painted within fifteeen years of Shakespeare’s death, created—if 1630 is taken—the year an Italian Jesuit discovered two cloud belts against Jupiter’s surface, the year that Boston was founded. In her high lace collar and velvet dress, Judith Leyster isn’t dressed for work but for something momentous—for the act of being at the center of our attention.
Dominic Smith grew up in Australia and now lives in Austin, Texas. He’s the author of four novels: The Last Painting of Sara de Vos, Bright and Distant Shores, The Beautiful Miscellaneous, and The Mercury Visions of Louis Daguerre.
Judith Leyster
Dutch painter (1609–1660)
Judith Jans Leyster (also Leijster; baptised July 28, 1609[1] – February 10, 1660) was a Dutch Golden Age painter. She painted genre works, portraits and still lifes. Although her work was highly regarded by her contemporaries, Leyster and her work became almost forgotten after her death. Her entire oeuvre was attributed to Frans Hals or to her husband, Jan Miense Molenaer, until 1893. It wasn’t until the late 19th century that she was recognized for her artistic abilities.[2]
Biography [ edit ]
Leyster was born in Haarlem,[3] the eighth child of Jan Willemsz Leyster, a local brewer and clothmaker. While the details of her training are uncertain, she was mentioned by contemporary Haarlem poet Samuel Ampzing in his book Beschrijvinge ende lof der stadt Haerlem (1628).[4]
The Happy Couple by Leyster, 1630 ( by Leyster, 1630 ( Louvre
Some scholars speculate that Leyster pursued a career in painting to help support her family after her father’s bankruptcy. She may have learned painting from Frans Pietersz de Grebber,[5] who was running a respected workshop in Haarlem in the 1620s.[6] During this time her family moved to the province of Utrecht, and she may have come into contact with some of the Utrecht Caravaggisti.[1]
Her first known signed work is dated 1629.[7] By 1633, she was a member of the Haarlem Guild of St. Luke. There is some debate as to who was the first woman registered by the Guild, with some sources saying it was Leyster in 1633 and others saying it was Sara van Baalbergen in 1631.[8] Dozens of other female artists may have been admitted to the Guild of St. Luke during the 17th century; however, the medium in which they worked was often not listed – at this time artists working in embroidery, pottery painting, metal and wood were included in guilds – or they were included for continuing the work of their deceased husbands.[8]
It has been suggested that Leyster’s Self-Portrait, c. 1633 (National Gallery of Art, Washington, D.C.), may have been her presentation piece to the Guild. This work marks a shift from the rigidity of earlier women’s self-portraits toward a more relaxed, dynamic pose.[9][10] It is very relaxed by the standards of other Dutch portraits and comparable to some of Frans Hals’s work. However, it seems unlikely that she wore such formal clothes when painting in oils, especially the very wide lace collar.[11]
Within two years of entering the Guild, Leyster had taken on three male apprentices. Records show that Leyster sued Frans Hals for accepting a student who left her workshop for his without first obtaining the Guild’s permission.[12] The student’s mother paid Leyster four guilders in punitive damages, only half of what Leyster asked for, and Hals settled his part of the lawsuit by paying a three-guilder fine rather than return the apprentice. Leyster herself was fined for not having registered the apprentice with the Guild.[1] Following her lawsuit with Frans Hals, Leyster’s paintings received greater recognition.[13]
In 1636, Leyster married Jan Miense Molenaer, a more prolific artist than herself who worked on similar subjects. In hopes of better economic prospects, the couple moved to Amsterdam where Molenaer already had clients. They remained there for eleven years before returning to Heemstede in the Haarlem area. There they shared a studio in a small house located in the present-day Groenendaal Park. Leyster and Molenaer had five children, only two of whom survived to adulthood.[citation needed]
Most of Leyster’s dated works antedate her marriage and are dated between 1629 and 1635. There are few known pieces by her painted after 1635: two illustrations in a book about tulips from 1643, a portrait from 1652, and a still life from 1654 that was discovered in a private collection in the 21st century.[14] Leyster may have worked collaboratively with her husband as well.[1] She died in 1660, aged 50. She was buried at a farm just outside of Haarlem, and her artwork not on display or recognized as hers for close to 200 years.[15] The fact that the inventory of her estate attributed many of the paintings to “the wife of Molenaer”, not to Judith Leyster, may have contributed to the misattribution of her work to her husband.[16]
Serenade by Leyster, 1629 ( by Leyster, 1629 ( Rijksmuseum
Work [ edit ]
She signed her works with a monogram of her initials JL with a star attached. This was a play on words: “Leister” meant “Lead star” in Dutch and for Dutch mariners of the time it was the common name for the North Star. The Leistar was the name of her father’s brewery in Haarlem.[7] Only occasionally did she sign her works with her full name.[citation needed]
She specialized in portrait-like genre scenes, typically of one to three figures, who generally exude good cheer and are shown against a plain background. Many are children; others men with drink. Leyster was particularly innovative in her domestic genre scenes. These are quiet scenes of women at home, often with candle- or lamplight, particularly from a woman’s point of view.[17] The Proposition (Mauritshuis, The Hague) is an unusual variant on these scenes, said by some to show a girl receiving unwelcome advances, instead of depicting a willing prostitute, the more common scene under such a title. However, this interpretation is not universally accepted.[18]
Much of her other work, especially in music-makers, was similar in nature to that of many of her contemporaries, such as her husband Molenaer, the brothers Frans and Dirck Hals, Jan Steen, and the Utrecht Caravaggisti Hendrick Terbrugghen and Gerrit van Honthorst. Their genre paintings, generally of taverns and other scenes of entertainment, catered to the tastes and interests of a growing segment of the Dutch middle class. She painted few actual portraits, and her only known history painting is David with the head of Goliath (1633), which does not depart from her typical portrait style, with a single figure close to the front of the picture space.[citation needed]
Leyster and Frans Hals [ edit ]
Although well-known during her lifetime and esteemed by her contemporaries, Leyster and her work were largely forgotten after her death. She was rediscovered in 1893, when a painting admired for over a century as a work of Frans Hals was recognized as hers. Leyster’s work was criticized as showing the “weakness of the feminine hand” while many of her paintings were attributed to Frans Hals.[19]
The confusion – or perhaps deceit – may date to Leyster’s lifetime. Sir Luke Schaud acquired a Leyster, The Jolly Companions, as a Hals in the 1600s. The work ended up with a dealer, Wertheimer of Bond Street, London, who described it as one of the finest Hals paintings.[20] Sir John Millars agreed with the Wertheimer about the authenticity and value of the painting. Wertheimer sold the painting to an English firm for £4,500. This firm, in turn, sold the painting as a Hals to Baron Schlichting in Paris.[citation needed]
In 1893 the Louvre found Leyster’s monogram under the fabricated signature of Hals.[21][22] It is not clear when the false signature had been added. When the original signature was discovered, Baron Schlichting sued the English firm, who in turn attempted to rescind their own purchase and get their money back from the art dealer, Wertheimer. The case was settled in court on May 31, 1893, with the plaintiffs (the unnamed English firm) agreeing to keep the painting for £3,500 + £500 costs. During the legal proceedings, there was no consideration for the work as an object of value under its new history: “at no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered”. Another version of The Jolly Companions had been sold in Brussels in 1890 and bore Leyster’s monogram “crudely altered to an interlocking FH”.[20]
In 1893 Cornelis Hofstede de Groot wrote the first article on Leyster.[23] He attributed seven paintings to her, six of which are signed with her distinctive monogram ‘JL*’.[24] Art historians since then have often dismissed her as an imitator or follower of Hals, although this attitude changed somewhat in the late 20th century.[25]
Apart from the lawsuit mentioned above, the nature of Leyster’s professional relationship with Frans Hals is unclear; she may have been his student or else a friendly colleague. She may have been a witness at the baptism of Hals’ daughter Maria in the early 1630s, since a “Judith Jansder” (meaning “daughter of Jan”) was recorded as a witness, but there were other Judith Janses in Haarlem. Some historians have asserted that Hals or his brother Dirck may have been Leyster’s teacher, owing to the close similarities between their works.[1]
Public collections [ edit ]
Museums holding works by Judith Leyster include the Rijksmuseum Amsterdam;[26] the Mauritshuis, The Hague; the Frans Hals Museum, Haarlem; the Louvre, Paris; the National Gallery, London; and the National Gallery of Art, Washington DC.[citation needed]
In March 2021 Leyster’s work was added to the “Gallery of Honor” at the Rijksmuseum. Leyster, Gesina ter Borch, and Rachel Ruysch are the first women to be included in the gallery.[27][28]
Gallery [ edit ]
See also [ edit ]
References [ edit ]
Additional sources
Chadwick, Whitney, Women, Art, and Society, Thames and Hudson, London, 1990.
Thames and Hudson, London, 1990. “Leyster, Judith” in Gaze, Delia, ed. Dictionary of Women Artists . 2 vols. Chicago: Fitzroy Dearborn, 1997.
. 2 vols. Chicago: Fitzroy Dearborn, 1997. Welu, James A. and Pieter Biesboer. Judith Leyster: A Dutch Master and Her World, Yale University, 1993.
Media related to Judith Leyster at Wikimedia Commons
‘Leyster: The Jester’ Giclee Print – Judith Leyster
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LEYSTER: THE JESTER. Judith Leyster (1609-1660): The Jester (Photos Framed,…) #6185845
Framed Print of LEYSTER: THE JESTER. Judith Leyster (1609-1660): The Jester. Oil on canvas
LEYSTER: THE JESTER.
Judith Leyster (1609-1660): The Jester. Oil on canvas
We are proud to offer this print from The Granger Collection, New York / The Granger Collection in collaboration with Granger Art on Demand
Granger holds millions of images spanning more than 25,000 years of world history, from before the Stone Age to the dawn of the Space Age
Media ID 6185845
Chordophone , Court Jester , Leyster
Adult Dutch Fool Judith Lute Musician
22″x18″ (56x46cm) Modern Frame
Our contemporary Framed Prints are professionally made and ready to hang on your wall
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30 Day Money Back GuaranteeMade with high-grade materialsUncropped Image 33.7 x 38.8cm (est)Professional quality finishProduct Size 45.7 x 55.9cm (est)
Our watermarking does not appear on finished products
Wooden framed 20×16 print incorporating a pseudo mat effect. Overall outside dimensions are 22×18 inches (559x457mm). Sealed paper backing. Includes metal sawtooth hanger for easy hanging. Framed prints are not dry mounted. Frames are made with MDF wood. Glazed with durable Styrene Plastic to provide a virtually unbreakable glass-like finish, easily cleaned with a damp cloth. Maximum size of printed image is 16″x12″
Product Code dmcs_6185845_6989_459
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Art Reproductions | The Jester, 1625 by Judith Leyster (1609-1660, Netherlands) | WahooArt.com
Do you want to buy a giclee print on cotton canvas of this artwork from Judith Leyster ?
WahooArt.com use only the most modern and efficient printing technology on our 100% cotton canvases 400gsm, based on the Giclée printing procedure. This innovative high resolution printing technique results in durable and spectacular looking prints of the highest quality.
Do not hesitate order your print now !
For just a little more than a print you can have a hand made reproduction of a painting of Judith Leyster.
With our talented oil painters, we offer 100% hand made oil paintings on various subjects and styles.
Click here to buy a hand made oil reproduction of this Judith Leyster Artwork
키워드에 대한 정보 judith leyster the jester
다음은 Bing에서 judith leyster the jester 주제에 대한 검색 결과입니다. 필요한 경우 더 읽을 수 있습니다.
이 기사는 인터넷의 다양한 출처에서 편집되었습니다. 이 기사가 유용했기를 바랍니다. 이 기사가 유용하다고 생각되면 공유하십시오. 매우 감사합니다!
사람들이 주제에 대해 자주 검색하는 키워드 Rediscovering Judith Leyster
- Philadelphia Museum of Art
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Rediscovering #Judith #Leyster
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주제에 대한 기사를 시청해 주셔서 감사합니다 Rediscovering Judith Leyster | judith leyster the jester, 이 기사가 유용하다고 생각되면 공유하십시오, 매우 감사합니다.
