Dutch painter and etcher. Studied with his father J. Cape. Was influenced by J. van Goyen, S. van rasdale, painters of Italianate directions. Went to Holland, worked in Dordrecht. Wrote landscapes, portraits, still lifes, genre and biblical scenes; almost never dated his works. His most famous is built on a fine colorful and light proportions the views of the sea, images of nature in different times of the day, as well as landscapes with animals. Early, close to J. van Goyena monochrome gamma changed at the end of the 1640s warmer, in the spirit of italianists, Golden color and a festive elation of images. Especially the artist was the transfer of a Sunny day, clear air, the sky swirling clouds bright, contrast, dark, massive forms the foreground and hazy distances. In the early 1660's Mature style of the Cape, which increase the features of theatrical performance, is in decline; the artist is moving away from the landscape genre.
Not so long ago it is established that aelbert Cuyp was born in 1620, and not in 1605 as stated in some sources. And my grandfather and uncle albert were artists who specialized in stained glass, father – Jacob gerritsz Cuyp – was a famous portraitist. Perhaps my father albert studied painting, and in the early 1640s, father and son worked together on orders: Jakob portraits, and albert provided them with the landscape background. But by this time the Cape Junior has created and separate works. It's hard to say whether albert other teachers. Version that of landscape painting, the artist studied with van Goyen while evidence is not found. In any case, the latest creation significantly affected the works of albert Cuyp, especially early.
Cape has manifested itself in different genres of painting, his hands belong to the biblical, mythological and historical paintings, still lifes, and portraits (the latter testify to the undeniable influence of Rembrandt), but the fame he brought it landscapes. Until the early 1640s, in the period known in the history of art as the tonal trend in Dutch painting, the artist wrote most of the paintings are small format, the main theme of which – a species native to Holland, with figures and animals. The predominant colors are buff and greenish-brown.
In the mid-1640s all the more clearly becomes the influence of the Utrecht masters of Jan Bot. By this time the Bot returned from Italy, bringing with them the style of the Italian school. Some researchers believe that the Cape visited Utrecht and personally talked with the Bot, and through his works indirectly acquainted with the artistic discoveries of the great French landscape painter Claude Lorrain. The second half of the 1640's and 1650-ies – the time of creation of the best paintings of the Cape. During this period, written tranquil views of the banks of the Maas and Waal near Dordrecht, with boats floating on the surface of the river, the herd settled down to rest amid vechereyuschim sky, Rhenish landscapes, with groups of horsemen or peasants.
The artist was famous for his ability to convey light and air of the misty morning, afternoon shining, Golden in the evening. He enjoyed capturing the warmth of summer or autumn sky, amber mist, enveloping the surrounding hills reflect in sleepy waters. Sunlight in his paintings is poured into the painting and then snatching some small detail of the panorama. A blade of grass, hair, horse mane, the horn, bent over the stream, the cows, the hat of a peasant – all bathed in a yellowish-buff lights. Light rays reflected and refracted by objects, like faces of a diamond, and the objects themselves seem to dissolve in the light. Teacher of the Cape in such cases was nature itself, and in the image Cape light is considered a forerunner of Vermeer. Sometimes Cape wrote the sea, calm and stormy, was one of the best in the transfer of the lunar illumination in night landscapes. Its composition is given, usually with a low point of view creates a feeling of wide open space.
The activities of the Cape flowed mainly in Dordrecht. After his father's death in 1651 or 1652 albert inherited a considerable fortune and was among the most respected citizens. He was an active member of the Dutch reformed Church and took an important city and Church office. In 1659 he became Dean of the reformed community, in 1682 became part of the court. In General, it seems that he was more appreciated for the public, rather than creative merit, although the artist, and received orders from influential citizens.
Preserved little information about the activities of Cape. It is known that his pupil was Barent van Kallat, and perhaps his brother, Abraham van Karat, which is so scrupulously followed the picturesque manner of the Cape, which later the past attributed many paintings of Abraham, especially since the initials in the signatures on their paintings the same – "A. K.".
Documentary evidence that the Cape somewhere out of Dordrecht, no, but judging by the locations depicted in his landscapes, he most likely traveled through Holland, visited the upper part of the Rhine, probably in Westphalia. In 1658 the artist married Cornelia Boschman, a wealthy widow of a Navy sailor Johan van de Corput, came from a distinguished family in town. The wife had already had three children, and a year later she gave birth to albert's daughter. After his marriage, the creative activities of Cape almost came to naught, apparently because active participation in Church Affairs (Cornelia was very devout), and can be, for lack of financial difficulties. His wife died in 1689, and the last year of his life, the Cape lived with his daughter and her husband, the owner of the brewery. At the end of life Cape created small paintings. He died in 1691 and was buried in the Augustinian Church in Dordrecht.
The Cape wasn't particularly appreciate in life, that is absolutely not let him to write as he saw fit, to be diligent or careless – as he would, generally, follow the on your free the field of instant inspiration. First, who in the XVIII century has opened all its importance as an artist was British, and not surprisingly, most of the creative heritage of the Cape is concentrated in the UK. The Cape craze has reached such proportions that in a short time in the Netherlands has not left any significant creations of the artist. He had imitators and followers, such as Abraham van Strey and his brother Jacob. Among the famous works of the Cape can be called paintings "Royal hunt", "the Herd to the watering place", "Departure for a walk", "Walk", "the Arrival of Maurice of Nassau in the Hague", "View of Dordrecht", "Evenings", "Pasture", "Departure", "Return", "Hunter", "Cow", "Korovnitsa" "Horses of the stables", "Sunset", "the Entrance to the Inn yard." The artist also left a number of etchings and many drawings – sketches from nature, which by themselves as complete works of art, served as an artist in his workshop help in creating paintings. In the works of Cuyp are fully assembled so all sides of Dutch life, especially in rural areas, that has its scope and diversity is sufficient to give it considerable interest. Landscapes, sea, horses, cattle, people of any round, starting from the idle rich until the shepherds, small and large pieces, portraits, bird's yards – all of it spread the curiosity of the artist and his talent. Cape more than anyone, has used his gift to extend field observations on his country, thus extending the limits of her art. But the excellent ability to write all genres of the Cape itself did not create a new genre or a new art. His name is not connected in the particular manner to see, feel or write, which allows you to say: this is a Rembrandt, this Paulus Potter or Rasdal. Despite this caveat, it takes a very high place in the list of his contemporaries, and, if the Cape was not of the Dutch school would be deprived of great works.