Aert de Gelder
Dutch 1645-1727 Dutch painter and draughtsman. He was the son of a wealthy Dordrecht family and probably became a pupil of Samuel van Hoogstraten in 1660. Apparently on the advice of van Hoogstraten, de Gelder moved to Amsterdam and entered Rembrandt workshop, possibly c. 1661. It is commonly assumed that he stayed there about two years. He was Rembrandt last pupil. After completing his apprenticeship, de Gelder returned to Dordrecht, where he worked for the rest of his long career. Considering that de Gelder was active for more than half a century, his output of just over 100 paintings seems low, probably because he was financially independent. Of those paintings accepted as by him, only 22 are dated, creating considerable problems in establishing a chronology.

 

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Aert de Gelder Christ on the Mount of Olives oil painting   

Painting ID::  1384
Aert de Gelder
Christ on the Mount of Olives

   
   
     

 

 

Aert de Gelder Judith and Holofernes oil painting   

Painting ID::  2726
Aert de Gelder
Judith and Holofernes
1495 National Gallery of Art, Washington DC

   
   
     

 

 

Aert de Gelder The Baptism of Christ oil painting   

Painting ID::  68378
Aert de Gelder
The Baptism of Christ
Technique Oil on canvas Dimensions 48.3 ?? 37.1 cm

   
   
     

 

 

Aert de Gelder Rest on the Flight into Egypt oil painting   

Painting ID::  70624
Aert de Gelder
Rest on the Flight into Egypt
Medium Oil on canvas Dimensions 109.9 x 118.8 cm

   
   
     

 

 

Aert de Gelder Tamar and Judah oil painting   

Painting ID::  70644
Aert de Gelder
Tamar and Judah
Medium Oil on canvas Dimensions 64 ?? 88 cm

   
   
     

 

 

Aert de Gelder Junger Mann oil painting   

Painting ID::  74602
Aert de Gelder
Junger Mann
c. 1702 Oil on canvas 57 X 47 cm cjr

   
   
     

 

 

Aert de Gelder Junger Mann oil painting   

Painting ID::  76137
Aert de Gelder
Junger Mann
Deutsch: um 1702 English: c. 1702 Medium Oil on canvas Dimensions Deutsch: 57 ?? 47 cm cyf

   
   
     

 

 

Aert de Gelder The temple entrance oil painting   

Painting ID::  82798
Aert de Gelder
The temple entrance
1679 Medium Oil on canvas Dimensions 70.7 x 91 cm (27.8 x 35.8 in) cyf

   
   
     

 

 

Aert de Gelder Esther and Mordechai writing the second letter of Purim oil painting   

Painting ID::  83730
Aert de Gelder
Esther and Mordechai writing the second letter of Purim
Esther and Mordechai writing the second letter of Purim. Oil on canvas. Date 1685(1685) cjr

   
   
     

 

 

Aert de Gelder Selbstbildnis als Zeuxis oil painting   

Painting ID::  83969
Aert de Gelder
Selbstbildnis als Zeuxis
Date 1685(1685) Medium Oil on canvas Dimensions 142 x 169 cm (55.9 x 66.5 in) cjr

   
   
     

 

 

Aert de Gelder Esther and Mordechai writing oil painting   

Painting ID::  87639
Aert de Gelder
Esther and Mordechai writing
Oil on canvas. Date 1685(1685) cyf

   
   
     

 

 

Aert de Gelder Selbstbildnis als Zeuxis oil painting   

Painting ID::  87820
Aert de Gelder
Selbstbildnis als Zeuxis
1685(1685) Medium Oil on canvas Dimensions 142 x 169 cm (55.9 x 66.5 in) cyf

   
   
     

 

 

Aert de Gelder King David oil painting   

Painting ID::  88940
Aert de Gelder
King David
c. 1683 (1680-1685) Medium oil on canvas Dimensions 109.5 x 114.5 cm (43.1 x 45.1 in) cjr

   
   
     

 

 

Aert de Gelder Die Judenbraut oil painting   

Painting ID::  90414
Aert de Gelder
Die Judenbraut
1684 Medium oil on canvas Dimensions 139 x 163 cm (54.7 x 64.2 in) cyf

   
   
     

 

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Aert de Gelder
Dutch 1645-1727 Dutch painter and draughtsman. He was the son of a wealthy Dordrecht family and probably became a pupil of Samuel van Hoogstraten in 1660. Apparently on the advice of van Hoogstraten, de Gelder moved to Amsterdam and entered Rembrandt workshop, possibly c. 1661. It is commonly assumed that he stayed there about two years. He was Rembrandt last pupil. After completing his apprenticeship, de Gelder returned to Dordrecht, where he worked for the rest of his long career. Considering that de Gelder was active for more than half a century, his output of just over 100 paintings seems low, probably because he was financially independent. Of those paintings accepted as by him, only 22 are dated, creating considerable problems in establishing a chronology.