Emanuel de Witte, 1685 - Interior of the Oude Kerk, Delft - fine art print

Interesting facts about this painting by Emanuel de Witte

Interior of the Oude Kerk, Delft is a painting created by Emanuel de Witte in 1685. The version of the masterpiece measures the size 24 3/8 × 19 5/16 in (62 × 49,2 cm). Oil on panel was used by the European painter as the technique for the piece of art. The original artwork's inscription is: "illegible traces of signature and date at lower right below dog.". Nowadays, this artpiece is in the the digital collection of Art Institute Chicago. With courtesy of: Art Institute Chicago (public domain license). The creditline of the artwork is: Charles H. and Mary F. S. Worcester Collection. Furthermore, alignment is in portrait format with a ratio of 1 : 1.2, which means that the length is 20% shorter than the width. The painter Emanuel de Witte was a European artist, whose style can primarily be classified as Baroque. The Dutch painter was born in 1617 in Alkmaar and deceased at the age of 74 in 1691 in Amsterdam.

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Disclaimer: We try all that we can in order to describe the products as clearly as possible and to exhibit them visually. However, the pigments of the print materials and the printing may vary marginally from the presentation on the monitor. Depending on the screen settings and the condition of the surface, color pigments can unfortunately not be printed as realisitcally as the digital version. Bearing in mind that all our fine art prints are processed and printed manually, there might as well be slight variations in the motif's exact position and the size.

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Additional description by the museum (© - Art Institute Chicago - Art Institute Chicago)

Having been stripped of their images and whitewashed by Protestant reformers in the 16th century, Holland’s large Gothic churches offered an excellent subject for the exploration of light, shade, and volume. Emanuel de Witte was one of a small group of painters who specialized in church interiors. Before he moved to Amsterdam in about 1652, he worked in Delft, a city whose artists were particularly fascinated by light and perspective. In this late painting, somewhat loosely based on one of the chief churches of Delft, the angles of the nave and transept converge on the preacher high in his pulpit; an organ and genealogical panels memorializing the dead provide the only decoration.