That Flinck adorned the woman’s head with a diadem in the shape of a crescent moon, an attribute of Diana, virgin goddess of the hunt, seems gratuitous in a study from a live model, but its inclusion helps to clarify the purpose of his drawing. 8 Others, such as A Kneeling Youth ( 1999.140), were executed with a broader, looser touch. 7 The nearly pristine condition of the chalks in Seated Nude Woman as Diana affords a rare view-in the model’s legs, for example-of the refined, precise lines and delicately modulated highlights and shadows found in some of Flinck’s figure drawings. Neither work bears a signature, but both are comparable in handling to signed or securely attributed drawings by Flinck from the late 1640s. Common to both works are the finely drawn, narrowly spaced hatchings and the liberal, in places idiosyncratic, application of scattered, patchy white chalk highlights. 6 The technique of the Braunschweig study closely resembles that of Seated Nude Woman as Diana. Those paintings are presumably lost, but a drawing by Flinck in Braunschweig possibly conveys an idea of their appearance (Fig. lying asleep in the most indecent way on a cushion.” 5 In paintings of the late 1640s that hung in his atelier, Flinck depicted them “naked as the day they were born. 4 Flinck’s models presumably also included the Van Wullen sisters, characterized by neighbors in testimony before a notary as “famous whores,” who lived near the artist’s workshop on the Lauriergracht. 3 A document dated 1658 attests that Flinck, Ferdinand Bol, Jacob van Loo, and others drew and painted a woman named Catharina Jansz., whom they paid to pose in the nude. At least once, in 1648, Flinck and Backer sat beside each other and sketched the same model. 2 During the 1640s and 1650s, Flinck and other Amsterdam painters adopted Jacob Backer’s practice of drawing figure studies in black and white chalks on blue paper ( 2013.170). Like several figures of the 1630s by Rembrandt, they are executed in red chalk applied with broad, vigorous strokes. 1 The earliest are two signed drawings-one of a woman holding a letter, the other of a seated man viewed from the back-that date from around 1636–39. Robinson:Ībout twenty studies of nude models can be attributed to Govert Flinck. , sold to Maida and George Abrams, Boston (Lugt 3306) The Maida and George Abrams Collection, gift to Harvard Art Museums, 2019Ĭatalogue entry no. Inscription: verso, lower right, black chalk: Ĭollector's mark: verso, lower left, blue ink stamp: M G A Govert Flinck, Dutch (Cleves 1615 - 1660 Amsterdam, Netherlands)īlack and white chalk on blue antique laid paper She’s drawn with white highlights which help define her form. Her other hand rests along her side on the edge of the fabric. Her legs face left and her right arm is extended up to chest level with her index finger pointing to the left. Her head leans slightly right on the right and looks to the left with closed mouth. The young fair-skinned woman is seated on garments, no chair is defined, with a small piece of fabric resting in her lap.
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