NAIVEU, Matthijs

The subject is probably “The Doctor’s Visit”: a lovesick woman, suffering no physical ailment, is attended by a Quack who presents her with a harlequin figure brandishing a clyster pipe, crudely indicating the true source of her sickness, and mocking her for it. It is further alluded to by the subjects of the paintings on the wall behind: a Lot and his Daughters and an Endymion or a Sleeping Cupid. The subject was popular earlier in the century with artists such as Jan Steen, and is known in other pictures by Naiveu.

This painting shows a carnival scene in a Dutch riverside town, with actors performing, an elegant couple promenading and a young child in a cart being pulled by a dog.

Moored at the quay is an English States Yacht, and the couple promenading may thus be members of the English royal family.

The trompe-l’oeil effect of the painting is remarkable. In addition to this effect, the picture is also interesting for its symbolism. Here the grapes may symbolise the life and death of Christ, while the pomegranate alludes to his resurrection.

The painting is signed left on the plinth: Naiveu.

Many of Naiveu’s later works depict the performing of plays or as here, a scene from a play. The dramas depicted in Naiveu’s theatrical pictures are seldom identifiable. In this picture the man entering to the right carries over his arm the costume of a Harlequin, or the Commedia dell’Arte figure of Arlecchino. Although the room depicted is arranged as a theatre set, it is probably not a literal depiction of the enactment of a play before an audience.

This picture celebrates the arrival of a newborn baby. This subject was traditional and popular in the 1660s and later years, as seen, for example, in the paintings by Gabriel Metsu, and Jan Steen.

The painting shows the portrait of a gentleman, three quarter length seated, wearing a brown coat with a red cape and a white scarf.

This small panel is characterised by its close-up, densely packed composition and skilful use of two light sources. A lit candle in the centre of the work illuminates the crowded faces, and an oil lamp lights up the wall and reveals the artist’s signature. The work’s style allows it to be allocated to the artist’s early period, which was marked by the influence of the “Fijnschilder” of the Leiden School. The choice of a close-up perspective and the illusionistic play of artificial light - inspired by the work of Godfried Schalcken - are typical of this phase. Alongside Dou, Slingelandt, and Schalcken, Naiveu is among the most emblematic representatives of late Netherlandish genre painting.

The panel is signed and dated upper right: M. Naiveu 1679.

Gerrit Dou’s success attracted many pupils and followers. One of his students was Matthijs Naiveu.

This is a characteristic work by Naiveu: in a spotless, restfully structured room, a modishly attired father converses with an elegant female visitor, who receives the child from the mother in the bed.