Word: terbrugghen
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...group or even a specially gifted one-though they included some painters of undeniable power, like Orazio Gentileschi. They assiduously imitated Caravaggio's chiaroscuro. The manner spread to France and The Netherlands. Georges de La Tour's candlelit night pieces, for instance, sprang from it, and Hendrick Terbrugghen used it with distinction. But his influence stimulated no great painters in Rome, for, by then, there were none left to stimulate. The grand vindication came later, when Rembrandt took Caravaggio's worn flesh and epiphanies of light and gave them the humanist resonance which Caravaggio himself died...
...pale colors and excited forms of the Mannerists are well represented in this show by the paintings of Bloemaert, Cornelis Van Haarlem, and Honthorst and Terbrugghen--with rich colors and deep chiaroscuro effects (contrasts of light and dark) are also fairly well sampled, as are the Italianate canvasses, including paintings by Poelenburgh and Nicolaes Berchem. The influence of these three styles is very marked in seventeenth century Dutch paintings, particularly in the Rembrandts, but the range of Rembrandt paintings in this exhibition is not adequate to demonstrate this clearly...
Before 1900,Terbrugghen was known by little more than his signature. Thirteen years ago, only three of his works were in the U.S.; now there are 15 (out of 90-odd authenticated in the world). In the Dutchman's first exhibition anywhere, all those from U.S. collections are on view at Ohio's Dayton Art Institute and are scheduled to move to the Baltimore Museum of Art. Their baroque realism, their tickling highlights, merry laughter and moralizing mien have established Terbrugghen as a forerunner of Vermeer, La Tour and Rembrandt...
Stolid Dutch burghers wanted genre scenes, not Biblical pageantry. Terbrugghen did his requisite of martyrs and evangelists, but it is his fleshly sinners that were his daily bread. In 17th century Holland, where drinking, smoking, gambling, even lute playing were castigated, the artist's twaddling codgers, topless prostitutes and leering rakes mime ribald vignettes...
What Calvin inveighed against, Terbrugghen painted with brush in cheek. The typical Caravaggioesque huddling of figures unified by a single artificial light source lacks Caravaggio's brooding shadows, instead glows with an incandescent warmth. In the dumb show, hands are more expressive than faces. Terbrugghen was making morality playlets, but his sympathy seems to lie on the side of the sinners and the senses...