GABRIEL METSU

A high place among the painters of “Conversation-pieces” must be

accorded to Gabriel Metsu (1630?-1667), a shortlived artist who was

born at Leyden and learnt the first principles of his art from Dou. As

early as 1644 he seems to have earned some reputation as a painter,

his signature appearing on his _Court Physician_ in that year. He came

under the influence of Rembrandt, and in later life practised as a

painter at Amsterdam, where he died.

Metsu, whose work is at first sight not easily distinguishable from

Terborch’s, acquired a facility in the control of the expression and

the ever-varying gesture of the hands in his pictures, that was denied

to many of his contemporaries. Instances of this are the figure of the

Christ writing a long Latin inscription on the ground in the _Woman

taken in Adultery_ (No. 2457), the ease with which the young lady in

a white satin dress runs her fingers over the keys of the spinet in

the _Music Lesson_ (No. 2460), and the treatment of the _Dutch Lady_

(No. 2462), who holds a jug in her right hand. The last-named panel is

evidently the companion to the very thinly painted _Dutch Cook peeling

Apples_ (No. 2463), which is signed “G. METSU.” Perhaps his best

outdoor scene of humble life is the _Vegetable Market at Amsterdam_

(No. 2458), although his handling of the trees suggests that his forte

was the Conversation-piece of Dutch tradition, and that he would not

have risen to high rank as a landscape painter. The placing of the

signature on a letter, which in this instance lies on the ground, is

a favourite device with Metsu. He has derived much pleasure from the

treatment of the textures of the tablecloth, the curtain, and the chair

in the _Officer visiting a Lady_ (No. 2459). The _Alchemist_ (No. 2461)

may be the companion picture to the _Sportsman_ in the Gallery at The

Hague. Much speculative criticism has been indulged in by critics as

to whether the so-called _Portrait of Admiral Cornelis Tromp_ (No.

2464) represents that admiral, and some doubt has also been cast on its

attribution to Metsu.

The Louvre: Fifty Plates in Colour · 第 266 / 399 题