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Here are all the paintings of Pieter Codde 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 84507 |
 |
Actors Changing Room |
Date 1630s
Medium Oil on oak
Dimensions Height: 33 cm (13 in). Width: 52 cm (20.5 in).
cjr |
| 88363 |
 |
Actors Changing Room |
1630s
Medium Oil on oak
cyf |
| 430 |
 |
Dancing Party |
1636 |
| 85037 |
 |
Lady Seated at Virginals |
Date first half of 17th century
Medium Oil on oak panel
Dimensions Height: 43 cm (16.9 in). Width: 32 cm (12.6 in).
cjr |
| 88802 |
 |
Lady Seated at Virginals |
first half of 17th century
Medium Oil on oak panel
cyf |
| 431 |
 |
Merry Company 2 |
1631 |
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| Pieter Codde
|
| 1599-1678
Dutch
Pieter Codde Locations
), was a Dutch painter of genre works and portraits, also known to be a poet. He is said to have studied with Frans Hals, but it is more likely that his training was with a portrait painter, Barent van Someren (1572 ?C 1632) or possibly with Cornelis van der Voort (1576 ?C 1624). His earliest work is known to be a piece from 1626, Portrait of a Young Man, now in the Ashmolean.
Most of his best remembered works were executed in Amsterdam and were small-scale paintings. They were distinctive in their silvery-gray tonalities, and many were musically themed, such as his first known genre work, Dancing Lesson (Louvre) from 1627, Musical Company of 1639, The Lute Player (Philadelphia Museum of Art) and, Concert, a piece now in the Uffizi Gallery. The other piece by Codde in the Uffizi is a genre work, Conversation. Codde also painted historical religious works, such as his Adoration of the Shepherds, from 1645, in the Rijksmuseum of Amsterdam.
Though it is unknown whether he studied with Frans Hals, his style is undoubtedly similar in some respects. He was commissioned in 1637 to complete an unfinished work of Hals, Officers of the Company of the Amsterdam Crossbow Civic Guard Under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. While the choice of Codde to complete this work by Hals was not an obvious selection at the time, Codde work in the portrait matched the original so well that it is uncertain who painted what, although the Rijksmuseum, which now houses the work, states that Codde??s style is recognizable smoother.
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