<ul><li>The Utrecht School is composed of of three Dutch painters—Dirck van Baburen, Gerrit van Honthorst, and Hendrik Terbrugghen—who went to Rome and fell fully under the pervasive influence of Caravaggio’s art. </li><li>Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. </li><li>The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.</li></ul>

Utrecht School

The Entombment of Christ, Caravaggio (1602/03) v Baburen (1621)

Childhood of Christ, Honthorst (1620)

Allegory of a painting, Honthorst (1656)

Saint Sebastian tended by Saint Irene, Terbrugghen (1625)

Utrecht school, principally a group of three Dutch painters—<a href="https://www.britannica.com/biography/Dirck-van-Baburen" dir="ltr">Dirck van Baburen</a> (c. 1590–1624), <a href="https://www.britannica.com/biography/Gerrit-van-Honthorst" dir="ltr">Gerrit van Honthorst</a> (1590–1656), and <a href="https://www.britannica.com/biography/Hendrik-Terbrugghen" dir="ltr">Hendrik Terbrugghen</a> (1588–1629)—who went to Rome and fell fully under the <a href="https://www.merriam-webster.com/dictionary/pervasive" data-term="pervasive" dir="ltr">pervasive</a> influence of <a href="https://www.britannica.com/biography/Caravaggio" dir="ltr">Caravaggio</a>’s art before returning to <a href="https://www.britannica.com/place/Utrecht-Netherlands" dir="ltr">Utrecht</a>. Although none of them ever actually met Caravaggio (d. 1610), each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi (1580–1620/21), especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master’s works.Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.<img src="https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg" alt="Color pastels, colored chalk, colorful chalk. Hompepage blog 2009, arts and entertainment, history and society" width="160" height="120">Although Honthorst enjoyed the widest reputation at the time, <a href="https://www.britannica.com/art/painting" dir="ltr">painting</a> at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group.

Utrecht school, principally a group of three Dutch painters—Dirck van Baburen (c. 1590–1624), Gerrit van Honthorst (1590–1656), and Hendrik Terbrugghen (1588–1629)—who went to Rome and fell fully under the pervasive influence of Caravaggio’s art before returning to Utrecht. Although none of them

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Utrecht school , principally a group of three Dutch painters—<a href="https://www.britannica.com/biography/Dirck-van-Baburen">Dirck van Baburen </a>(c. 1590–1624), <a href="https://www.britannica.com/biography/Gerrit-van-Honthorst">Gerrit van Honthorst </a>(1590–1656), and <a href="https://www.britannica.com/biography/Hendrik-Terbrugghen">Hendrik Terbrugghen </a>(1588–1629)—who went to Rome and fell fully under the <a href="https://www.merriam-webster.com/dictionary/pervasive">pervasive </a>influence of <a href="https://www.britannica.com/biography/Caravaggio">Caravaggio </a>’s art before returning to <a href="https://www.britannica.com/place/Utrecht-Netherlands">Utrecht </a>. Although none of them ever actually met Caravaggio (d. 1610), each had access to his paintings, knew his former patrons, and was influenced by the work of his follower Bartholomeo Manfredi (1580–1620/21), especially his half-length figural groups, which were boldly derived from Caravaggio and occasionally passed off as the deceased master’s works.

Back in the Netherlands the “Caravaggisti” were eager to demonstrate what they had learned. Their subjects are frequently religious ones, but brothel scenes and pictures in sets, such as five works devoted to the senses, were popular with them also. The numerous candles, lanterns, and other sources of artificial light are characteristic and further underscore the indebtedness to Caravaggio.

Although Honthorst enjoyed the widest reputation at the time, <a href="https://www.britannica.com/art/painting">painting </a>at both the Dutch and English courts, Terbrugghen is generally regarded as the most talented and versatile of the group.

Utrecht school | art

Utrecht School

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