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Cornelis Dusart
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A Haarlem painter, printmaker and draftsman active during the last quarter of the 17th century, Cornelis Dusart specialized in genre scenes, depicting amorous couples and rollicking peasants. The son of the organist at Haarlem’s St. Bavo Cathedral, he was born on April 24, 1660. A student of Adriaen van Ostade (1610-1685), much of his art was in the style of his master. Haarlem artist Jan Steen (1626-1679) also influenced Dusart’s art. Few details are known about Dusart’s life. Dusart was admitted to the artists’ Guild of St. Luke on January 10, 1679. After Ostade’s death, Dusart took over the Ostade studio, which included unfinished paintings and numerous drawings by Ostade and his younger brother Isaack (1621-1649). Dusart finished or modified several of the paintings and drawings. In addition to paintings, drawings and watercolors, Dusart was also a prolific printmaker, creating about fifteen etchings and over one hundred mezzotints. He completed his first mezzotint in 1685; we have no information about the identity of the person who taught Dusart this technique. Many of Dusart’s mezzotints were published in Amsterdam by his pupil Jacob Gole (1660-ca. 1737); some of the mezzotints may have been completed by Gole or created by Gole after Dusart’s designs. Dusart served as dean of the Guild of St. Luke during 1692. He apparently spent 1695 in Amsterdam. Dusart did not marry and lived the last eleven years of his life with two aunts. He died in Haarlem on October 1, 1704. The inventory of his estate and the catalog for his estate sale on July 31, 1708 showed that in addition to his own works he had a large collection of paintings, drawings and prints by Dutch and Italian artists. (TNB 3/2013) Selected Bibliography: de Jongh, Eddy and Ger Luijten. Mirror of Everyday Life: Genreprints in the Netherlands 1550-1700. Exhibition catalog, pp. 373-376. Amsterdam: Rijksmuseum, 1997. Sutton, Peter C. and Jane Iandola Watkins, et al. Masters of Seventeenth-Century Dutch Genre Painting. Exhibition catalog, pp. 196-197. Philadelphia: Philadelphia Museum of Art, 1984.