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Judith Jans Leyster (also Leijster) (c. July 28, 1609〔Molenaer, Judith. ("Leyster, Judith, Dutch, 1609 - 1660," ) National Gallery of Art website. Accessed Feb. 1, 2014.〕– February 10, 1660) was a Dutch Golden Age painter. Leyster painted genre works, portraits, and still lifes. Her entire oeuvre was attributed to Frans Hals until 1893, when Hofstede de Groot first attributed seven paintings to her, six of which are signed with her distinctive monogram 'JL *'.〔''Judith Leyster: A Woman Painter in Holland's Golden Age'', by Frima Fox Hofrichter, Doornspijk, 1989, Davaco Publishers, ISBN 90-70288-62-1, p.32〕 ==Biography== Leyster was born in Haarlem〔Harris, Ann Sutherland and Linda Nochlin, ''Women Artists: 1550-1950'', Los Angeles County Museum of Art, Knopf, New York, 1976〕 as the eighth child of Jan Willemsz Leyster, a local brewer and clothmaker. While the details of her training are uncertain, she was already well enough known in 1628 to be mentioned in a Dutch book by Samuel Ampzing titled ''Beschrijvinge ende lof der stadt Haerlem''. There is some speculation that Leyster pursued a career in painting as a result of her father's bankruptcy and the need to bring in funds for the family. She may have learned painting from Frans Pietersz de Grebber,〔Hofrichter, See Frima Fox. ''Judith Leyster: A Woman Painter in Holland’s Golden Age'' (Doornspijk, 1989), p. 14.〕 who was running a respected workshop in Haarlem in the 1620s.〔(Frans Pietersz de Grebber ) in the RKD〕 During this time her family moved to the province of Utrecht and she may have come in contact with Utrecht Caravaggisti.〔 Her first known signed work is dated 1629, four years before entering the artist's guild.〔(Judith Leyster ) in the RKD〕 By 1633, she was a member of the Haarlem Guild of St. Luke, the second female painter to be registered there. The first woman registered was Sara van Baalbergen in 1631, who like Leyster, was not a member of an established artist family in Haarlem, and she also married another painter; Barent van Eysen. There were more women active at that time as painters in Haarlem, but since they worked in family workshops they did not need the professional qualifications necessary to be able to sign works or run a workshop.)〔(Sara van Baalbergen ) in the RKD〕 Her ''Self-Portrait'', c. 1633 (National Gallery of Art, Washington, D.C.), has been proposed as her presentation piece to the Guild. This self-portrait historically marks a shift from the rigidity of earlier women's self-portraits in favor of a more relaxed, dynamic pose.〔Frances Borzello, ''Seeing Ourselves: Women's Self-Portraiture'' 1998〕〔Hofrichter, Frima Fox. "Judith Leyster's 'Self-Portrait': ''Ut Pictura Poesis''," ''Essays in Northern European Art. Presented to Egbert Haverkamp-Bergemann on his Sixtieth Birthday'', Doornspijk, 1983, pp. 106-109.〕 Indeed, it is very relaxed by the standards of any Dutch portrait, comparable mainly with some by Hals. However it seems unlikely that in reality she wore such formal clothes when painting in oils, especially the very wide lace collar. Within two years of her entry into the guild, Leyster had taken on three male apprentices. Records show that Leyster sued Frans Hals for accepting one of her students who left her workshop for that of Hals, less than three days after the student entered the studio. The student's mother paid Leyster four guilders in punitive damages, only half of what Leyster asked for, and, instead of returning her apprentice, Hals settled the argument by paying a three-guilder fine. Leyster was fined herself for not having registered the apprentice with the Guild.〔 In 1636, Leyster married Jan Miense Molenaer, a more prolific artist of similar subjects. In hopes of better economic prospects, they moved to Amsterdam, where he had existing clients. They remained there for eleven years before returning to the Haarlem area (in Heemstede). In Heemstede they shared a studio in a small house located on the grounds of the present day Groenendaal park. Leyster and Molenaer had five children, only two of whom survived to adulthood. Most of Leyster's dated works are from 1629–1635, which coincides with the period before she married and had children. There are few known pieces painted after 1635: two illustrations in a book about tulips from 1643, a portrait from 1652, and a still life from 1654 that was recently discovered in a private collection. Leyster may have worked collaboratively with her husband as well.〔 In 1660 Leyster died aged 50. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Judith Leyster」の詳細全文を読む スポンサード リンク
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