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DOI Artikel:Kobayashi-Sato, Yoriko: Hendrick Ter Brugghen's "King David Harping surrounded by four Angels"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18904#0026
The members of the Collegium Musicum all came from the distinguished families and upper
classes of Utrecht62. One of these men, Gysbert van Hardenbroek, particularly draws our at-
tention. His brother, Pieter van Hardenbroek63 is the one who commissioned Baburen to paint
Granida and Daifilo in the Koninklijk Museum voor Schone Kunsten van Belgie, Brussels. In
1656, Pieter presented this painting, along with another painting by A. Willaerts, to Gysbert'*
son64. The Van Hardenbroeks must have been a family who loved not only musie but also pain-
ting as well. Interestingly, a document that is thought to provide a link between the Van Har-
denbroek family and the Ter Brugghen family is preserved in the Municipal Arehives in Ut-
recht. In 1607, Gysbert Ter Brugghen65, who was Hendrick's uncle, presented himself at the
house of Johanna van heer Jansdom, the mother of Gysbert van Hardenbroek, to act as a witness
to a certain notarial deed6t. It is then possible that Hendrick Ter Brugghen made the aeguaintance
of Van Hardenbroek through his uncle and, with Van Hardenbroek acting as intermediary,
the members commissioned Ter Brugghen to create a painting of David, their patron when the
Collegium Musicum actually started convening in 1628. The documents of the Collegium Musicum,
however, which was officially established three years later in 1631, make no mention of this
painting.
Twenty-one of the religious paintings painted by Ter Brugghen (not including replicas) have
come down to us today. Of these at most six paintings take their subjects from the Old Testa-
ment. Old Testament themes were therefore rare of Ter Brugghen. It is entirely plausible that
David (Fig. 1) was painted upon commission by an organization that had connection with this
subject and also had enough available space for such a large work — (150 by 190 centimeters) —
for example, the Collegium Musicum.**
62. J. C. M. Riemesdijk, op. cif., p. 2.
63. Genealogie van het Oud-Adelijk Geslacht van Hardenbroek, 1892.
64. L. J. K. Slat&es, Dirck van Baburen (ca 1595-—1624). A Dutch Painter in Utrecht, Utrecht, 1965, p. 12. Conceming the
document of legacy, see the Municipal Arehives Utrecht, Notarial deed by Notary G. Verstert, May I, 1656.
65. M. J. Bok and Y. Kobayashi, op. cit.
66. The Municipal Archiyes Utrecht, Notarial deed by Notary J. v. Herwaerden, Feb. 24, 1607 (U003a017).
All the copyrights of the photographs illustrated belong to the owners of the original works.
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classes of Utrecht62. One of these men, Gysbert van Hardenbroek, particularly draws our at-
tention. His brother, Pieter van Hardenbroek63 is the one who commissioned Baburen to paint
Granida and Daifilo in the Koninklijk Museum voor Schone Kunsten van Belgie, Brussels. In
1656, Pieter presented this painting, along with another painting by A. Willaerts, to Gysbert'*
son64. The Van Hardenbroeks must have been a family who loved not only musie but also pain-
ting as well. Interestingly, a document that is thought to provide a link between the Van Har-
denbroek family and the Ter Brugghen family is preserved in the Municipal Arehives in Ut-
recht. In 1607, Gysbert Ter Brugghen65, who was Hendrick's uncle, presented himself at the
house of Johanna van heer Jansdom, the mother of Gysbert van Hardenbroek, to act as a witness
to a certain notarial deed6t. It is then possible that Hendrick Ter Brugghen made the aeguaintance
of Van Hardenbroek through his uncle and, with Van Hardenbroek acting as intermediary,
the members commissioned Ter Brugghen to create a painting of David, their patron when the
Collegium Musicum actually started convening in 1628. The documents of the Collegium Musicum,
however, which was officially established three years later in 1631, make no mention of this
painting.
Twenty-one of the religious paintings painted by Ter Brugghen (not including replicas) have
come down to us today. Of these at most six paintings take their subjects from the Old Testa-
ment. Old Testament themes were therefore rare of Ter Brugghen. It is entirely plausible that
David (Fig. 1) was painted upon commission by an organization that had connection with this
subject and also had enough available space for such a large work — (150 by 190 centimeters) —
for example, the Collegium Musicum.**
62. J. C. M. Riemesdijk, op. cif., p. 2.
63. Genealogie van het Oud-Adelijk Geslacht van Hardenbroek, 1892.
64. L. J. K. Slat&es, Dirck van Baburen (ca 1595-—1624). A Dutch Painter in Utrecht, Utrecht, 1965, p. 12. Conceming the
document of legacy, see the Municipal Arehives Utrecht, Notarial deed by Notary G. Verstert, May I, 1656.
65. M. J. Bok and Y. Kobayashi, op. cit.
66. The Municipal Archiyes Utrecht, Notarial deed by Notary J. v. Herwaerden, Feb. 24, 1607 (U003a017).
All the copyrights of the photographs illustrated belong to the owners of the original works.
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