The Gallant Conversation

Last updated
The Gallant Conversation
Gerard ter Borch (II) 019.jpg
Artist Gerard ter Borch
Yearc.1654
MediumOil-on-canvas
Dimensions71 cm× 73 cm(28 in× 28+34 in)
Location Rijksmuseum, Amsterdam
Gemaldegalerie Berlin Gerard ter Borch d. J. 016.jpg
Gemäldegalerie Berlin
Copy by Charles Van Beveren, Amsterdam Museum SA 1143-De vaderlijke vermaning (naar Gerard ter Borch)-De vaderlijke raadgeving.jpg
Copy by Charles Van Beveren, Amsterdam Museum

The Gallant Conversation is an oil-on-canvas painting from circa 1654 by Gerard ter Borch (the Younger). A late 18th century French print of the work is titled The Paternal Admonition, apparently believing it showed a father reprimanding his daughter, but modern art historians see it as a conversation between two prospective lovers, either a discussion of a betrothal or, more likely, a customer propositioning a prostitute in a brothel. There are two versions made by the painter, one at the Rijksmuseum, in Amsterdam, and the other at the Gemäldegalerie Berlin.The two paintings are dated to around 1654. The Amsterdam version is 71 cm by 73 cm, with the extra centimeters on the right being taken up by a dog and a door. The dimensions of the Berlin painting is smaller, 70 by 60 cm. [1]

Contents

Description

The painting shows a man talking to a young woman. The woman is dressed in an exquisite silver satin gown which immediately draws the viewer's attention to her as the focus of the scene, while the man is in military dress and holds a finely decorated hat on his lap. The man appears to be addressing the young woman with a gesturing hand and slightly parted lips. The female figure seated between them and next to the man looks down and sips from a wine glass, seemingly uninterested in the ongoing conversation. To the side of the girl there is a table with a burning candle, mirror, powder puff, combs and a trailing ribbon. The setting is simply designed, but the furnishings suggest a level of feminine elegance that befits the two female figures. Behind the man's chair, a scruffy dog can be seen, and to the rear of the picture there is a large bed. [2]

The shimmering satin dress stands out like a strong highlight against the dark earth tones of the rest of the picture and draws the viewer's attention. Ter Borch also gives evidence that the scene takes place in her boudoir - a mirror, powder puff and combs on a table to her left identify it as a woman's dressing table. The proximity of these objects to the standing woman presents the space as her domain. [3]

Gerard ter Borch has depicted the silvery shimmering satin dress of his protagonist in a deceptively real way. With the artfully folded, shiny fabric, it forms the center of the painting and, in its visual and tactile fascination, creates a charming interplay with the rear view of the misterious wearer. [4]

Interpretation

During the 19th and early 20th centuries viewers believed the scene showed the father of the girl addressing her on the subject of some misdemeanour, while her mother sat patiently beside him, sipping a glass of wine. There were several problems with this interpretation though, and later appraisals focused on the interaction between the man and the girl as potential lovers rather than as father and daughter. The figure formerly identified as the father, who is clearly a soldier, and had appeared too young to be the father of the girl and the husband of the elderly woman, fitted more easily in the role of suitor. Both a formal situation, in which the man is discussing betrothal to the attentive girl, and a transaction in a brothel have been suggested as the subject. The details in the painting are ambiguous enough for Ter Borch to have left it to the viewer to decide which of these scenes was being portrayed. [5]

Ter Borch made a number of copies of the work, and when a smaller version held in the Gemäldegalerie in Berlin was cleaned, it was revealed that the man was holding a coin between the fingers of his raised hand. It has been suggested that this makes the brothel scene more likely to be the correct interpretation since it is harder to reconcile the showing of money in a formal situation. However, many of the details of the painting can be placed equally well in either situation. The old woman can be viewed as either the girl's procuress or her attentive mother. The fine dress of the girl and the attention she has paid to her appearance, witnessed by the articles on the table, could be to attract a customer or equally, to secure a husband. The dog behind the chair is reminiscent of many similar depictions of domestic scenes of the time, but here it is a scruffy cur rather than a pampered spaniel. [6] Nevertheless, the stiff upright pose of the girl is more suggestive of a formal setting than of the louche atmosphere of a brothel. The painting hints at the underlying sensuality, with the large bed looming over the scene, the accoutrements of female beauty on the table, and the abundant feathers in the soldier's cap, but this does not rule out a formal scene, as Ter Borch's contemporaries would have been aware of the ultimate similarities between the two situations. The appearance of the bed close by is not necessarily indicative of a brothel scene either: in the 17th century the bed would have been an expensive piece of furniture to be shown off in the best room. The room is sparsely furnished apart from the bed, chairs and table though, so there is little clue as to the location to be derived from the furniture. [7] [8]

Copies

The picture seems to have been immediately popular. Ter Borch himself made copies, and there are at least 24 known other versions by other artists. It was also featured in Samuel van Hoogstraten's The Slippers, partially visible on a wall in the background. The girl can be seen clearly, but the rest of the scene is obscured by a door.

Related Research Articles

Gerbrand van den Eeckhout Dutch painter

Gerbrand van den Eeckhout, was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art.

Dirck van Baburen Dutch painter

Dirck Jaspersz. van Baburen was a Dutch painter and one of the Utrecht Caravaggisti.

Gerrit Dou 17th-century Dutch painter

Gerrit Dou, also known as GerardDouw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. He specialised in genre scenes and is noted for his trompe-l'œil "niche" paintings and candlelit night-scenes with strong chiaroscuro. He was a student of Rembrandt.

Gerard ter Borch Dutch Golden Age painter (1617–1681)

Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu, Gerrit Dou, Eglon van der Neer and Johannes Vermeer. According to Arthur K. Wheelock Jr., Ter Borch "established a new framework for subject matter, taking people into the sanctum of the home", showing the figures' uncertainties and expertly hinting at their inner lives. His influence as a painter, however, was later surpassed by Vermeer.

Frans van Mieris the Elder Dutch painter

Frans van Mieris the Elder, was a Dutch Golden Age genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660–1690) and Willem (1662–1747) and his grandson Frans van Mieris the Younger (1689–1763) were also accomplished genre painters.

Gabriël Metsu Dutch painter

Gabriël Metsu (1629–1667) was a Dutch painter of history paintings, still lifes, portraits, and genre works. He was "a highly eclectic artist, who did not adhere to a consistent style, technique, or one type of subject for long periods". Only 14 of his 133 works are dated.

Brunswick Monogrammist

The Brunswick Monogrammist was an anonymous Netherlandish painter, active in the mid-to-late 16th century. He painted religious scenes but also several scenes of secular merriment, including brothel and tavern scenes, and has been called "the most significant precursor of Pieter Bruegel the Elder".

<i>The Wine Glass</i> 1660 painting by Johannes Vermeer

The Wine Glass is a 1660 painting by Johannes Vermeer now in the Gemäldegalerie, Berlin. It portrays a seated woman and a standing man drinking in an interior setting. The work contains the conventions of genre painting of the Delft School developed by Pieter de Hooch in the late 1650s. It contains figures situated in a brightly lit and spacious interior, while its architectural space is highly defined. The figures are set in the middle ground, rather than positioned in the foreground.

Johan de Graeff

Johan de Graeff, also Jan de Graeff - patrician of Amsterdam, Lord of the semisouverain Fief Zuid-Polsbroek and Lord of the castle Ilpenstein - was a member of the De Graeff - family from the Dutch Golden Age. His political Position was that of the Dutch States Party.

Jan Verkolje Dutch painter

Jan Verkolje or Johannes Verkolje was a Dutch painter, draughtsman and engraver. He is mainly known for his portraits and genre pieces of elegant couples in interiors and, to a lesser extent, for his religious and mythological compositions. He was a gifted mezzotint artist. Trained in Amsterdam, Verkolje spent his active professional career in Delft where he had access to powerful patrons.

<i>The Procuress</i> (Vermeer) 1656 painting by Johannes Vermeer

The Procuress is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the Gemäldegalerie Alte Meister in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated. In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room".

Gesina ter Borch Dutch artist (1631–1690)

Gesina ter Borch was a Dutch Golden Age watercolorist and draftswoman, whose work mostly consists of watercolor paintings in albums. Most of her work captured her observations of family life, current events, and fashionable people. In addition to the visual arts, Gesina wrote love poetry.

<i>Woman Reading a Letter</i> (Metsu) Painting by Gabriël Metsu

Woman Reading a Letter is an oil painting by Dutch artist Gabriël Metsu, created c. 1665-1667, shortly before his death. During his lifetime, under the Golden Age of Dutch painting Metsu was a renowned painter, much better known than Vermeer. It is assumed to be a pair with Man Writing a Letter.

Jan Gildemeester Dutch art collector

Jan Gildemeester Jansz. was a Dutch art collector.

<i>Adoration of the Magi</i> (Mostaert) Painting by Jan Jansz Mostaert

Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm, and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.

<i>The Sick Child</i> (Metsu) Painting by Gabriël Metsu

The Sick Child or The Sick Girl is an oil on canvas genre painting by the Dutch artist Gabriël Metsu, created c. 1660. It has been held by the Rijksmuseum, in Amsterdam, since it was bought in 1928, acquired with assistance from the Vereniging Rembrandt at a sale of works from the collection of Oscar Huldschinsky in Berlin.

<i>Portrait of Helena van der Schalcke</i> Painting by Gerard ter Borch the Younger

Portrait of Helen van der Schalcke or Helena van der Schalcke as a Child is an oil on canvas painting by Dutch artist Gerard ter Borch, created c. 1648. The painting is held at the Rijksmuseum, in Amsterdam.

<i>A Woman Playing the Theorbo-Lute and a Cavalier</i> Painting by Gerard ter Borch the Younger

A Woman Playing the Theorbo-Lute and a Cavalier is aqn oil on wood painting by Dutch artist Gerard ter Borch the Younger, created c. 1658. The work depicts a young woman playing a theorbo while her lover looks on. The painting is in the collection of the Metropolitan Museum of Art, in New York.

<i>Seated Girl in Peasant Costume</i> Painting by Gerard ter Borch

Seated Girl in Peasant Costume is an oil on panel painting by Dutch artist Gerard ter Borch, created c. 1650. It is held in the Rijksmuseum, in Amsterdam.

<i>The Letter</i> (ter Borch) Painting by Gerard ter Borch

The Letter is an oil on canvas painting by the Dutch artist Gerard ter Borch, created c. 1660-1665. The work is in the British Royal Collection. It was purchased by King George IV in 1814 from the collection of the British banker Sir Thomas Baring. Earlier, in 1805, it had been acquired by Baring's father, at a time when many Dutch paintings from the 17th century where being sold abroad.

References

  1. Angela K. Ho, Creating distinctions in Dutch genre painting: repetition and invention, Amsterdam University Press, 2017, ISBN 978-90-485-3294-0
  2. Adrienne Laskier Martín, An Erotic Philology of Golden Age Spain, Vanderbilt University Press, 2008, ISBN 978-0-8265-1578-0
  3. Adrienne Laskier Martín, An Erotic Philology of Golden Age Spain, Vanderbilt University Press, 2008, ISBN 978-0-8265-1578-0
  4. Staatliche Museen zu Berlin, "Gerard ter Borch: Die galante Konversation", Retrieved on 30 July 2020 (German)
  5. Angela K. Ho, Creating distinctions in Dutch genre painting: repetition and invention, Amsterdam University Press, 2017, ISBN 978-90-485-3294-0
  6. Henning Bock, Masterworks of the Gemaldegalerie, Berlin: with a history of the collection", Picture Gallery State Museums in Berlin, Abrams, New York 1986, ISBN 0-8109-1438-7, p. 238
  7. Angela K. Ho, Creating distinctions in Dutch genre painting: repetition and invention, Amsterdam University Press, 2017, ISBN 978-90-485-3294-0
  8. Adrienne Laskier Martín, An Erotic Philology of Golden Age Spain, Vanderbilt University Press, 2008, ISBN 978-0-8265-1578-0