Ter Borch, Gerard - The Letter - art postcard (Medici)

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^{Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information (internal links may not  work) :}

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Gerard ter Borch (Dutch: [ɣəˈrɑrt tɛr ˈbɔrx]; December 1617 – 8 December 1681), also known as Gerard Terburg (Dutch: [ɣəˈrɑrt tɛrˈbɵrx]), was a Dutch genre painter who lived in the Dutch Golden Age.[1] He influenced fellow Dutch painters Gabriel Metsu, Gerrit Dou, Eglon van der Neer and Johannes Vermeer.[1] According to Arthur K. Wheelock Jr., Ter Borch "established a new framework for subject matter, taking people into the sanctum of the home", showing the figures' uncertainties and expertly hinting at their inner lives.[1] His influence as a painter, however, was later surpassed by Vermeer.[1]

Gerard ter Borch was born in December 1617 in Zwolle in the province of Overijssel in the Dutch Republic.[2]

He received an excellent education from his father Gerard ter Borch the Elder, also an artist, and developed his talent very early. The inscription on a study of a head proves that Ter Borch was at Amsterdam in 1632, where he studied possibly under Willem Cornelisz Duyster or Pieter Codde. Duyster's influence can be traced in a picture bearing the date 1638, in the Ionides Bequest (Victoria and Albert Museum, London). In 1634 he studied under Pieter de Molijn in Haarlem. A record of this Haarlem period is the Consultation (1635) at the Berlin Gallery.[2]

Ter Borch is a significant painter of genre subjects. He is known for his rendering of texture in draperies, for example in The Letter and in The Gallant Conversation, engraved by Johann Georg Wille.[4]

Ter Borch's works are comparatively rare; about eighty have been catalogued. Six of these are at the Hermitage, six at the Berlin Museum, five at the Louvre, four at the Dresden Museum, three at the Getty Center,[5] and two at the Wallace Collection. [2] A pair of portraits were located at the Corcoran Gallery in Washington D.C., highlighted in 2010 by Blake Gopnik.[6]

The artist's painting The Suitor's Visit, c. 1658, oil on canvas, 80 x 75 cm (31½ × 29 9/16 in.) in the Andrew W. Mellon Collection, was used on the cover of Marilyn Stokstad's second edition of Art History.