July 10, 2024, updated December 23, 2024
Editor's note: These artist spotlights are part of a series of posts examining the intersection of AI with art. They include a brief summary of the artist generated by AI (but also checked for accuracy by a human) and images generated by AI "in the style" of the artist. They do NOT include actual images by the artist (other websites already do this much better than I could).
Aert de Gelder (1645 - 1727)
Aert de Gelder (also, Arent de Gelder), born on October 26, 1645, in Dordrecht, Netherlands, was a distinguished painter of the Dutch Golden Age and a notable follower of Rembrandt van Rijn. Renowned for his biblical scenes and portraits, de Gelder's work is characterized by its rich coloration, dramatic use of light and shadow, and expressive realism. His dedication to Rembrandt's style and his own innovative approaches made him one of the last significant representatives of the Baroque tradition in Dutch painting.
Early Life and Education
Aert de Gelder was born into a wealthy family in Dordrecht, a city known for its vibrant artistic community. His family recognized his talent early on and supported his artistic education. At the age of 16, de Gelder began his formal training under Samuel van Hoogstraten, a former pupil of Rembrandt, which laid the foundation for his artistic development.
In 1661, de Gelder moved to Amsterdam to study directly with Rembrandt, one of the most influential artists of the time. This apprenticeship deeply impacted de Gelder's style, instilling in him a profound appreciation for Rembrandt's techniques and artistic philosophy.
Artistic Style and Influences
Aert de Gelder's work is profoundly influenced by Rembrandt, particularly in his use of chiaroscuro (the contrast between light and dark) and his focus on emotional depth and realism. However, de Gelder also developed his own distinctive style, marked by a bold use of color and a loose, expressive brushwork.
Key characteristics of de Gelder's style include:
Biblical Themes: Like Rembrandt, de Gelder often chose biblical subjects for his paintings. His works are known for their dramatic intensity and emotional depth, capturing the human experience within these sacred narratives. Paintings such "Esther and Mordecai" exemplify his ability to convey complex emotions and storytelling through visual art.
Portraiture: De Gelder was also an accomplished portraitist. His portraits are notable for their psychological insight and lifelike representation. He captured his subjects with a directness and honesty that reflect his keen observation skills and his commitment to realism.
Rich Color Palette: One of the distinguishing features of de Gelder's work is his use of a rich, warm color palette. His paintings often feature deep reds, ochres, and golds, which add to the dramatic effect and enhance the overall composition.
Expressive Brushwork: De Gelder's brushwork is loose and expressive, lending a sense of movement and vitality to his paintings. This approach creates a dynamic surface texture and emphasizes the emotional intensity of his subjects.
Notable Works
Some of Aert de Gelder's most notable works include:
"The Baptism of Christ" (1710): This painting is a masterful example of de Gelder's use of light and color to create a dramatic and sacred atmosphere. The contrast between the divine light and the earthly figures highlights the spiritual significance of the scene.
"Esther and Mordecai" (1685): This work illustrates a scene from the Book of Esther, showcasing de Gelder's ability to capture the emotional gravity of biblical stories. The characters' expressions and the intricate details of their garments add depth to the narrative.
"Self-Portrait as Zeuxis" (c. 1685): In this self-portrait, de Gelder depicts himself as the ancient Greek painter Zeuxis, reflecting both his artistic aspirations and his connection to the classical tradition. The painting demonstrates his skill in portraiture and his thoughtful engagement with art history.
Editor's Note: Rembrandt painted multiple self-portraits of himself as Zeuxis, so it is not surprising that his pupil followed suit. The self-portrait as Zeuxis by Aert de Gelder that I was able to find had the full title "Self-Portrait as Zeuxis Portraying an Ugly Old Woman".
Later Life and Legacy
Aert de Gelder spent most of his career in his hometown of Dordrecht, where he enjoyed a successful career as a painter. Despite the changing tastes and the decline of the Baroque style in favor of more classical and restrained approaches, de Gelder remained true to the expressive and dramatic style he had inherited from Rembrandt.
De Gelder's dedication to Rembrandt's legacy and his own contributions to Dutch painting have ensured his place in art history as one of the last great masters of the Dutch Golden Age. His works are held in major collections around the world, including the Rijksmuseum in Amsterdam and the Louvre in Paris.
Aert de Gelder passed away on August 27, 1727, in Dordrecht. His work continues to be celebrated for its emotional depth, technical skill, and its enduring connection to the rich tradition of Dutch Baroque painting.
This summary was written by ChatGPT on July 10th, 2024. A human double-checked the factual assertions, and added a few notes (in italics).
How well does AI "interpret" Aert de Gelder
Although Aert de Gelder painted a range of subjects, including many portraits, my initial use of this artist as a prompt modifier produced landscapes only. Very beautiful landscapes that tend to be a bit brighter and more "polished" than Aert de Gelder's work, but recognizably in the same style. I added "Baroque portrait" to get the image below. Also brighter and more "polished" than the artists' portraits.
What ChatGPT 4o Has to Say
The images in this post (including the image 'from the archives' below) were uploaded to ChatGPT 4o and ChatGPT was asked to act like an art critic and to comment on how well the images do, and do not, correspond with de Gelder's style. Here is what it said:
Aert de Gelder (1645–1727) was a Dutch Baroque painter and one of the last pupils of Rembrandt van Rijn. His works are known for their dramatic chiaroscuro, rich color palette, and expressive emotionality, often applied to biblical and historical themes. Below is a critique of how the attached images correspond (or do not) to Aert de Gelder’s style and artistic legacy.
Image 1: Scene with Travelers and Dramatic Sky
This image strongly resonates with the 17th-century Baroque style, particularly in its use of dramatic lighting and a sweeping, atmospheric sky. The composition, with figures traveling on horseback and a layered, expansive landscape, evokes the grandeur and narrative sensibilities of Dutch Baroque painting. While Aert de Gelder primarily focused on biblical scenes, the emotive use of light and shadow here could align with his dramatic storytelling approach.
Correspondence with Aert de Gelder:
Moderate resemblance. The dynamic sky, tonal contrasts, and narrative focus echo Baroque sensibilities, though de Gelder's works were more centered on biblical themes.
Divergence:
The scene lacks the intimate, character-driven focus typical of de Gelder’s works, where figures often take precedence over the landscape.
Image 2: Golden Landscape with Bridge
This serene and idealized landscape, bathed in golden light, has a luminous quality but leans more toward Romanticism or later pastoral traditions than Baroque-era painting. Aert de Gelder rarely painted pure landscapes, focusing instead on human subjects in dramatic or religious settings. The overall softness of this work is far removed from de Gelder’s textured, chiaroscuro-driven aesthetic.
Correspondence with Aert de Gelder:
Weak resemblance. The light’s warmth has a faint echo of the tonal contrasts used by de Gelder.
Divergence:
De Gelder’s compositions typically centered around figures and narrative, rather than idyllic, atmospheric landscapes.
Image 3: Portrait of a Young Woman with Curly Hair
This portrait, while striking and detailed, aligns more closely with 18th-century Rococo portraiture than Aert de Gelder’s Baroque style. The focus on the sitter’s youthful beauty, the highly polished rendering of her features, and the decorative quality (e.g., pearls, velvet) diverge from de Gelder’s characteristically raw, emotionally charged portraiture. De Gelder’s portraits often employed earthy tones and dramatic lighting, with an emphasis on individuality and introspection over idealized beauty.
Correspondence with Aert de Gelder:
Weak resemblance. The focus on the human face recalls de Gelder’s interest in portraiture, but the style and era are significantly different.
Divergence:
The polished, idealized aesthetic lacks the rawness and chiaroscuro typical of de Gelder’s portraits.
Image 4: Dutch Landscape with Cows and Buildings
This painting shares more in common with the Dutch Golden Age tradition of landscape painting, particularly artists like Aelbert Cuyp or Jan van Goyen, rather than Aert de Gelder’s narrative-driven works. The subdued palette, tranquil setting, and focus on light effects in the sky are characteristic of Dutch landscapes but lack the dramatic focus on figures or religious themes seen in de Gelder’s paintings.
Correspondence with Aert de Gelder:
Minimal resemblance. The setting and tonal quality show ties to the broader Dutch tradition, of which de Gelder was a part.
Divergence:
De Gelder rarely painted landscapes in this style, focusing instead on emotionally charged biblical or historical scenes.
Conclusion
Image 1 bears the strongest resemblance to Aert de Gelder’s style, particularly in its dramatic use of lighting and narrative elements, though it lacks the biblical or historical themes central to his work.
Images 2 and 4 reflect broader Dutch Golden Age traditions but do not align with de Gelder’s focus on storytelling or chiaroscuro.
Image 3 is stylistically removed from de Gelder’s oeuvre, reflecting later artistic movements like Rococo.
Overall, these images demonstrate varying degrees of connection to the Dutch Baroque tradition, but only the first image approaches Aert de Gelder’s specific focus on dramatic, figure-driven narrative art.
From the Archives
The image below was created in December of 2022, or thereabouts.
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