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Você está assistindo: Como saber se esta com piolho

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Uma mãe isto é penteando meticulosamente o cabelo de seu filho na procura de piolhos. O menino comporta-se estoicamente durante a inspeção. Ter Borch pintou muitas cenas desse gênero, onde os chave personagens estão totalmente absorvidos em sua atividades.

Procurando piolhos provavelmente incluir uma moral, uma vez que os cuidados maternais, ileak e asseio eles são as qualidades ideais de uma está bem dona-de-casa. No século dezessete, emprego pente para piolhos representar tanto uma aparência asseada, gostar de a pureza de caráter.


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crianças play naquela prominent duty in various paintings in ns allofit.net. The quiet tiny boy in Gerard ter Borch’s mommy Combing she Child’s Hair (‘Hunting ao Lice’) is extremely estendido with a visiting public. A child is male, as presented by his white smock, climate an completo part of der boy’s wardrobe. In ns seventeenth century, both boys e girls wore skirts until about the lei of six, since it foi ~ considered practical. This small boy attract an apron as well, to keep his undergarments clean. His rather grande hair com shoulder-length curls era not unusual for boys either.The mrs bends forward to inspect ns boy’s hair, while the leans backward against her knees. Looking dreamily o fim of a corner the his eye, the boy waits patiently para the mrs to finish, so that he can take a bite of ns apple in his hands. Before a existence of personal hygiene products, regula hair-combing was essencial to nós vamos grooming. Over there was naquela great threat then (as over there still is today) the young crianças contracting head lice, so mothers carefully inspected a scalps of their offspring as naquela matter the routine.This painting, with its subtle effects of light, polished gradations that colour, e incomparable rendering of materials, is 1 of a highlights of aproveitar Borch’s rich oeuvre. A figures estão painted in naquela restrained palette, i m sorry merges harmoniously with the grey-green colour of ns background. Brushstrokes ser estar barely visible: separado strokes can be detected somente in the passages that depict hair, fur or velvet. Common of this artist is the delicate handling, whereby the paint ser estar applied in successive, thin layers, often wet-in-wet. Inverno ageing, however, has caused some of ns colours to change in tone. The fur-trimmed jacket did no initially have actually its current, indefinable hue; naquela bit of a original blue colour is still visible on ns woman’s shoulder. ‘Hunting ao Lice’ has traditionally been dated come 1652 or 1653, i m sorry is quiet tenable. Ter Borch’s step-mother, Wiesken Matthijs, born in 1607, stand model ao the woman. She was ns elder sister the his wife, Geertruid Matthijs, and the third wife of his father, Gerard ter Borch a Elder – which made she both step-mother and sister-in-law that Gerard possua Borch a Younger. A facial features of the woman in this painting ser estar very semelhante to those in der portrait that Wiesken Matthijs drawn by Mozes ter Borch – Gerard’s half-brother and his pequena by eighteen years – top top 21 January 1660. Gerard aproveitar Borch the Elder enrolled on the verso the this sheet ‘The year 1660. Mozes ter Borch. Attracted after his mother’ (‘Anno.1660. Mosus possua Borch. Nae zijn Moeder geteickent’), thereby establishing a woman’s identity and confirming that she was a mother the Mozes ter Borch. It has sometimes been said that Mozes stand model para the boy in ‘Hunting porque o Lice’. However, the small portraits that Gerard ter Borch painted that his half-brother, born in 1645, also as the self-portraits that Mozes drew at naquela very young age, depict a different face, one with der characteristic pug nose. The ter Borch família displayed a remarkable level of artistic talent: in addition to Gerard e Mozes, their sister Gesina and brother Harmen were also artists. ‘Hunting para Lice’ is der feast for the eye, but it also offers a wise lesson. In seventeenth-century Holland, marriage e family vida were hosted in high regard. Der woman’s duties e obligations to be extolled by clergymen e writers and depicted by painters. Maternal care, order and cleanliness were the pre-eminent features of naquela virtuous housewife, e the fine-toothed comb used in the search for lice ser estar seen through seventeenth-century dutch authors as naquela symbol of interior virtue. In Roemer Visscher’s 1614 emblem book Sinnepoppen, the words ‘Purgat et ornat’ ( cleanses and adorns) appear above a depiction of a lice comb. The poet e moralist Jacob Cats additionally saw ns comb as der symbol the cleanliness: ‘The comb is wondrous useful, ns comb is wondrous clean / the comb can put the head in a best order ever seen’ (‘De kam is wonder nut, de kam is wonder net / De kam is dice het hooft in beter bespeak set’). The convencional of a couplet is that der well-groomed figure reflects der sound mind. (this is der reworked version of naquela text composed by Quentin Buvelot, released in: A. Válvula Suchtelen, Q. Buvelot et al., Genre paints in ns allofit.net, the Hague 2016, pp. 44-49)
pintor posição encontro nome do sujeito consistência de inventário Em exibição em
Gerard aproveitar Borch (Zwolle 1617 - 1681 Deventer)
'Procurando piolhos'
c. 1652-1653
painting
744
Sala 15

Origem

johannes van Bergen van naquela Grijp, Leiden; his sale, Zoeterwoude, 25 June 1784 (Lugt 3750), no. 133 (for 371 guilders to Delfos); Abraham Delfos Gallery, Leiden, 1784; Hendrik Rottermond, a Hague; his sale, Amsterdam, 18 July 1786 (Lugt 4072), no. 32 (for 300 guilders come Fouquet); Pieter Fouquet Gallery, Amsterdam, 1786; Dorothea, Baroness De Pagniet, Utrecht, till 1836; her sale, Utrecht, 26 July 1836 (Lugt 14441), no. 32 (for 1,175 guilders to Steengracht); jonkheer Johan Steengracht van Oostcapelle, ns Hague, 1836-1846; acquired at naquela family auction by his second son, jonkheer Hendrik Steengracht furgão Oostcapelle, the Hague, 1846-1875; through inheritance come his nephew, Hendricus Adolphus Steengracht furgão Duivenvoorde, a Hague e Voorschoten, 1875-1912; his sale, Paris, 9 June 1913 (Lugt 72900), no. 7 (for 305,000 francs come Frederik Muller ao the Rembrandt Association); got with the support of ns Rembrandt Association, 1913




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