jUDITH LEYSTER'S PROPOSITION.

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jUDITH LEYSTER'S PROPOSITION.
BETWEEN VIRTUE AND VICE*
It has been three centuries since the
death of the versatile Dutch genre,
portrait. and still-lire painter, Judith
Leyster (1609-1660), hut it wa7""öiiiy
---
22
BY FRIMA FOX HOFRICHTER
Fi~urc I-Judilh Lcyslcr. The
1631, Thc Haguc, Mauritshuis.
during the last women's movement arranged her works in chronological
that the pioneer study of her works order, and provided the first (and aS
was finally made. In 1927, Juliane yet only) published catalog~C
Harms discussed Leyster's lire, raisonne of her paintings.' Within SIX
:975
years after lhe ;
licles in Olldhislorians
adde
dispuled points
BUl from lhe 1111'
senl, lhere h.l~ b
aboul her.
Yel during
Leysler had bel:
hislories of lh
(where she was;
Samuel Ampz
ende lofder 5/01-
\\'as on I)' eighlec
by Theodore Sr
on her last nar
"Ieading star ir
mitled to the
Haarlem, in I f
~ave had severa.
;oncernine al le
~
Sl).' She marrll
)ainler. Jan ~
1636, bore thre~
Yeemslede, ne;;
During her f!
_erster worke
Ind Amslerd.
,new lhe mast
:Iuding Hals.
)rugghen, ~n
ivel)'. Her f~
ects and with
IOsitional lec
s evident in
vork \\'as 01
Ilher master
imilarilies a
ffinil)"; on l
.eyster \\.as c
e~son-and
hose works \
nfluence.
istoricallile
i orten qu
clever" imi

year~ after the appearance of thc articles
in Oud-Holland. other art
historians added information to, or
dispuled points in. Harms's thesis.
But from thc mid-1930s until thc present,
there has been ver)' little written
about her.
Yet du ring her own lifetime
Leyster had been praised lwice in the
histories of the ~ of Haarlem
("here she was born), once in 1627 ~
Sam& Am~zinCI in Beschrijvinge
eiide""7Of der stadt "}Jaerlem: when she
was only eighteen, and again in 1648
b) Theodore Shrevel, who, punning
on her last name, called Leyster a
"Ieading star in art.'" She was admitted
to the St. Luke's Guild in
Haarlem, in 1633, and is known to
~
have had several students (documents
concerning at least three students ex-
~ ist).' She }!Jarried another Haarle!!!
.
.
" painter, Jan Miense Molenaer. in
: 'im:l;-;;re ihree children. and ~n
: 1'Ieemstede. near Haarlem. in 1660.
- During her lift)-one years, Judith
,rL'eyster ~orked in Haarlem. UtrecQt,
: I~nd Amsterdam; presumably. she
; Knew the maSters of each school. including
Hals, Honthorst and Terbrugghen,
and Rembrandt, respectively.
Her familiarity with the subjects
and with the lighting and corno
I ~sitional techniques of each school
~evident in her works. Indeed, her
work was orten attributed to the
other masters because of certain
similarities and was praised für this
affinity; on the other hand, however,
Leyster was condemned für this same
reason-and more severely so für
those works which show Frans Hals's
influence. Even in current art
historicalliterature on Dutch art, she
is orten quickly dismissed as a
"clever" imitator of his. However,
because of Leyster's training in
Utrecht, as weIl as in Haarlern, many
. of her paintings actually owe little to
Hals.
The Propos~ (Fig. I) in the
ART JOURNAL
shuulder. "Ilh une hiind on her uppcr
iirm iind his olhcr hiind cxlcndcd
forward full of coins, Shc. without
noticcablc rcaction. or perhaps with
dclcrmincd disintercst. sits in achair
with her feet propped on a
foot warmer. concentrating on thc
sewing which she holds in her lap,
Leyster is openly and clearly depicting
a sexual proposition (the man is
not offering the woman payment für
the sewing~), However. it is not the
subject hut rather Leyster's attitude
toward this popular theme, which is
our maln cancern,
The theme of propositions,
prostitution. procuresses, and
brothels. including seventeenth century
scenes of the Prodigal San. was
common in Northern Art, Pigler. in
his Barock/hemen,' cites seventy-two
scenes of ill-matchedlover;~d
~-:;:rIve others of love 2arden~;
and this lisling ~ould easily be ex-
panded, The popularity of the theme
may be explained 'in part because the
subject was common enough in lire in
seventeenth century Holland, Despite
the innuence of Calvinism in the
lalleT half of the sixteenth century. or
perhaps because of it, there was a
resurgence of brothels in the
~~~S;c~!llYn:.- Such paintings
were probably appealing both as
depictions of forbidden, but commonplace,
pleasures and as works
with moralizing intent.
Figure 2-Lucas van Leyden.
Son. 1519.
"-
f.;::
TM Prodiga'
The woman "'ho is the recipient of
a proposition or "'ho is sho"n as an
active member of a brot hel is general-
I~ dCpll:lCd iI~ iI morc: lhiin wllling
pilrlicipilnt." The ~ubecl illreild~
appeilrs in I cenlury
grilvmgs ilnd becomes even more
populilr in the sixteenth century"
Especially popular are scenes of the
ErQQiga~- "wasting his lire with
riotous living" (Luke 15:31) and
"devouring [his) lire with harlots"
(Luke 15:30), as in the print of 1519
by L~an Le~de!) (Fig. 2), whcre
the young woman in the center is
seducing the "son" at the right while,
al lhe same time and unbeknownst to
hirn, she is picking his pocket,'
Figure 3-Quenlin Metsys.lIl-Matched Lo.rrs.
c I 520. ~'ashington. D.C.. Nationiil Giillery
of Art. Ailsil Mellon Bruce Fund.
This vie~' of the theme is similar to
that of Q2Ei!tin Metsvs's, 111-Matched
Lavers' of about 1520 Fig. 3), and
others of the same type, where money
is sued to compensate für the age of
the eider participant (hence, a~ admission
that they are ill-matched).
l'he exchange of love, or sex, für
money is quite clear, although the
money is orten being stolen by the
woman rat her than being given
willingly by the man. Money, an essential
element in prostitution, is,
however, .1!2l-:s~,n in ~h.~ "~:~y
Company paintings of the 1630s,
~s those of Jacob Duck and
Dirck Hals. This type shows
boisterous musical parties set in
brothels with much drinking and
good times. Money may not have
been necessary in these works
because the activity is so obvious: it,
is, however, indicated in the scenes of
ill-matched lovers or of procuresses
so thatthe action depicted in those
paintings may be clearly understood.
The procuress theme was particularly
popular in Utrecht and is
well-illustrated by Baburen"s
Frima Fox Hofrldlter is a doctoral stud~nt &t
Rutgers Univcrsity. Hcr Ph.D dissertation is a
cataloguc raisonnc of Judith Leysl~r'S works
23

thc.: 1c.:l:ring 1:,1\'alit:r \\ho orrer~ ht:r .:Iudt:,; a \\ 1111: glas,; on lhe table.
munl:~: shc.: is nl:llht:r rla~ing a Jute. rl:,;um.1 \. l11: O:IJ 1\ i,t "':lJrrt:cted"
nor drinl.ing. nor \\earing a 10\\-CUI 11C arrarl:nl aml1il!uil \ or Lt:vster's
drc.:ss -nur is sht: al:l:l:rling his orrer. ~"b~ inlrodu~ing the gl~s~ in
Thc.: t:mhodimt:nl or domt:slil: \.irlue. ordl:r lu I:\rlain. in the traditiona!
shc.: I:llnlinues her se\\'ing. Ralher \\ a~. \\hat \\as rl:all~ going on. The
than t:nl:ouraging tht: man'~ in- tigurt:~ art: pul back in the role~
lt:mions. sht: bel:l)mt:s tht: embarassed J"ignt:d to them thrlJugh tht: }ear~-
vil:tim. Tht: rOl)m i~ ~ilent as "e wait ono:e agJin. the rea:;on ror the ofrer or
rl)r hc.:r rl:sronse. Le~ ster's \\ oman i~ mont:~ i~ undt:rstood onl~ 'through
nu harllll: sht: i~ an ordinar~ \\oman ~l:l:ing th~ \\ oman as ;I temptress.
'"'gur" ~-Oir,1. ':In I!:lhurc:n.' rhe Procures..
ItI~:. 8o~lon. Mu~cum ur I'inc: '\rl,(ClJUrl':,~
uflhc: \Iu",uml
f'rU(llr('.\\ of 162::! (rlg. 4). The entire
\:a~t I~ pr~~ent: the old procure~s at
fight. ;he \:u~lomer in lhe cenler. and
lh~ pru!ililUle un lhe leh. Eilch is a
!ile~e rUf lheir clearl~ detlnea
Töre;:. ilnd all are sho\"n as hold.
.io\:ular. and \:erlainl~ \,'illing parli\:lpanls
in lhi~ exchange of ser\'ices
for munc~,
Ho\' ~\er. Le~'sler's al li lude
lo\\ard lhc !iUbje\:l and her treatment
ur il dirrl:r rrum lhu~e of lhe Ulrechl
masters and from lhose of her conlempurarles
in general, Her Propos;fjUlI,
paimed jusl one and a half ~ears
after sh~ ICrl the Ulrechl area (she
li\'ed in \r~~lilnd. near Ulrecht. from
16::!~ lo Scplcmber. l6::!9. recalls lhe
Lara\a,\!gl.:"4u\: ~pirit in lheme. time
(a nlghl 'l.:~nI:J. and light source (an
,)il lamr), Hut il is these similarilies
\,hi\:h Scr\e lu ill.:l.:enl ilS differences,
Lc\ !ill.:r., \\ork ma\. in fact. be consld"crco
a \:rlllca'" response lo t~
painlin!!, of h~r oredecessors. Her-
bc.:lng rrOrOSiliont:d-not an e\traor.
dlnar~ I:irc.:umslance. The dirrerenl.'e
in arprlJal:h i~ unprt:l:edenled: it surt:-
Ic\ rc.:p~t:s~nt~. to ~omt: ~
Lc.:~ "tc.:r's \it:\\polnt as a \\ oman.
_c.:~slt:r's Prv/J()Sllilll/ I~ er onJ}
Irc.:;Jlmt:nl ur Ihis ~ubjt:ct. She did.
hl'\\t:\t:r. raInt t\\u other pictures or
l\Omen ~t:\\ing. both night ~cene~ and
bl)th \\ith oiJ lamp~: ont: or a woman
alunt:. \\hich \\as recorded in the G.
\dditional t:vidt:nl:~ thJt Le~ster's
1I(lman \\ 1I1 not cuoperat.: IS
"uggl:stl:d by Le~ ster's use of a
Il)ul \\armer. prupped beneath lhe
i\""t)i11a~'-s I~el. :\. root \\armer is il.
lu~trated under the lilie .. F avorite of
\\umen" . in Ruemer "'isscher's
c:mblem bouk. Silll/e.Pupp(JI/ (1614);
the epigram suggest~, perhaps onl~
half-jukingl~. thai becau.se the
ruot\\armer is ~uch 01 prized posses.
siun in the I:uld uf winter-und even
mure su during the night-a man
\\uuld rl:all~ ha\e to impre.ss a
\\oman tu gel her to move from it. 01
ster Le~ster's \\ oman does not seem
read~ lu takt:.
The intimate and re~trained mood
used - by Le\ ster für the usuall\ ba\\'dy
~Jl:l:t 01: p~urositions. isn~t_founl:
~n until tht: Qeneralion of (ler:trc:
Ter Bürl:h t\\c:n - -v 'ears later,
Tl:r Ter Burl:h's Burch's numl:ruus numerous pulntings paintings of
pru!",usitiuns art: also quil:t, intimate
sl:l:nl:s. sul:h as the so-callcd Gallanl
V/lu'(', (I-'ig. 6) ur 1665. As in
LI:~stl:r's. unt: almost has tu look
t"il:t: tu realill: what is happening in
tht:st: \\urk:.. In ract, T I:r Borch ma\
t:v~ huvt: !;t:l:n Leyster's P,u/>usiii:-
-
cpi\:tion uf lht: scenc is ~lrary ~O
lhl: al.:\:cpll:d rult: assigned women in t-1!!urc -,-Anun~muu,. cup~ "rlcr Judilh
lhe~i,n!!~ rrum the-fiheenlh tOlhe Lc~~lcr. Proposition
"c\cnlecnlh ct:nluries, previously
ml:nllunl:d. in which lhe} "neece" ur thc~c wurk~ can be dated about
mcn. pil:k lht:ir PUCkt:lS. sleal their 1633 and share with the H ague pic-
monc}. ~t:ducc them. abuse lhem, and
gcnl:rall~ makc fools of lhem.'" The
lure a ~ympathetic attitude toward
wumen's dome~tic rotes. ~.!:~
thcme ur prostitution exploilS lhe in In lht: the Hague Prupu.~itiun.is 1'rupu.\';I;U~. IS able abte to 10
idea or womcn using lheir wiles lO
dt:gradt: men and lead lhem lo sin.
~gräle lht: domeSlic and lhe erollC
~ rare combinalion which slilrup-
Leyslt:r's paiming does not fosler lhis !ioTas lhe virlue or lhe WO""inän.-"':'"
Imagt:,
In her f'rupu.l";fjun. lhe mood is not
This hYPolhesisbecomeseven
mort: plau~ible when we compare the
une of carousing bUl of 4ui~l in- 1'rul'(J.~;I;un with a Copy or Leysler"s
limacy. Thc woman. usually depicled work by an anonymous arli~l (Fig. SI,
a!i a willing parlicipam in lh~ adven- sold rrom lht: Amedee ProuvoSl
ture if nol its insliga!or. is nol shown Colleclion. June 20, 192M. Along wilh I-igur" h-

~
.
..
4
i
~
i
! ;;
when he visited Haarlem in 1634, just
three years after her painting was
completed, and he may have
remembered it when painting the
same subject many years later. But
Ter Borch's elegant setting and the
quiet mood do not change the attitude
of the artist or the intention of
the officer, here, who declares his
needs to the young woman with his
op~ and his open palm filled
~ ~o~ F or eveninT ei~
mtimate scenes, the men are entertained
by the women who are clearly
courtesans serving luscious fruit and
wine. And although his work is a rar
cry from the blatant Caravaggesque
procuresses, Ter Borch nevertheless
does not concern himself with the circumstances
or victimization of
woman, but sees her only as the vehicle
to fulfill the sexual relationship.
Figure 7-Gabriel Metsu. An Orrer ur Wine.
c. 1650. Vicnna. Kunsthistorisches Museum
new
Figure 8-Jan Yermeer. TM Concert. C 1660.
Boston. Isabella Stewart Gardner Museum.
Leyster.s Proposition as a prototype
foT this theme. Also, Lawrence Gow.
ing. in his book Vermeer." uses Metsu.s
painting lO illustrate the idea of
lhe interrumed moment (soecifjcall,.
~ theme of ~stitution,
procuresses, brothels, and prodigal
sons. alone. one can see a continuum
~ hjS subject through the century.
"ye here are, for example, deli berate
ausions to the past in some of
Vermeer's paintings of the 1 660s. In
one of them, The Concerl (Fig. 8), no
doubt itself a brothel scene, hanging
on the wall at the right is an earlier,
blatant example of the procuress
type, Baburen's Procuress of 1622,
which has already been discussed.
Therefore, thatthe first generation
orseventeenth century genre painters
exerted an innuence on the taler ones.
or were in some way renected in their
\\ork, ciln be seen in an evaluation of
this subject miltter. That the work of
Mel~u and Ter Borch was innuenced
by the intimste proposition scene of
Judith Leyster is certainly possible.
Her work may have inspired the
quieter mood in genre painting of the
proposition theme. Certainly. if
Judith Leyster was not their direct influence,
she was, at the very least,
their unrecognized forerunner.
rOOTNOTES
'This arlicle ..as presenled in a slighlly
different form as a paper for Ihe College Arl
Associalion in January. 1975 1 should like 10
thank Professor Ann Sulherland Harris for
first Inlroduclng me 10 Ihe works of Judith
Leysler. Her unwavering support and genuine
enthusiasm for Ihis work and her continued encouragemenl
Ihroughout the ..,iling of my
M.A. thesis. Judi/h L~.I's/~r A Pr~/irninar)'
(ala/ugu~ (Hunter Colle~e). hiS meanl a ~real
deal IU me I would also like 10 Ihank Professor
Marlin Eldelberg rar his prodding crilicism
and qulel encoura~emenl during Ihe wriling of
Ihis arlicle and Ihe CAA paper-and 10 Ihank
hirn most or all for his patience
I Juliane Harms. ., Judilh Leysler: Ihr
Leben und ihr \\erk:' Oud-Ho//and, XLIV.
19~i. MM-96, 113-126, 145-154, 221-242,275-
279 The base of Harms's research ..as
Cornelius Hof siede de Grool's discover'j, in
IM93. or Le'j'sler's monogram on Tht Happ)'
('oup/~. no.. in Paris, The Louvre. The painlin~
had lust been sold as a Frans Hals, and
Horslede de Grool's discover'j resulled in a 1a..
suil He also. eiled si~ other monogrammed
works by Leyster "hich he had found. C
Horslede de Grool. .. Judith Leysler." Jahr-
buch d~r Kunig/ich Pr~sussisch~n Kuns/-
.larnm/u/lg/'/l. Val. XIV. IM93, pp. 190-198,
232. 11 is also noleworthy thai the eighteenth
century biographer, Arnold Houbraken, in his
D~ KruD//' schouburgh d~r ,\td~r/an/sch~
Aonsl'chi/d~rs ~n schi/d~r~ss~n (1718). did not
include Leysler, allhough he did include almosl
t..o dozen olher warnen arlisls (including
Maria van Ooslerwyck. Maria de Grebber.
and Anna Maria van Schuurmans). as weil as
Leysler's husband, Jan Miense Molenaer.
2. Harms. ,. Judilh Leyster,'. 90.
3 HofsIede de Groot. Jahrbüch. p, 192,
Leysler, 100. played a ward game of her own in
her monogram. wh ich is a connecled J. L. and
a Slar.
4 A, Bredius. "Een Connecl lusschen
Frans Hals en Judilh Leysler ," Oud-Ho//and,
XXXV. 1917.71-77
5 The lilie PrupuSilion is used hefe,
allhou~h the painting has borne several olher
litles in Ihe pasl. It has been called both Th~
T~"'pling Offt'r (Ihe implicalions of which are
tao obviousl) se~isl rar elaboration) and /h~
Rt:it'CI/'d Oll/'r. allhough the aclual rejeclion
has nOI yet laken place And Ihe nineleenlh
CenlUr) lilie. Th~ S~ornslr~ss. gives rar too lil-
Ile Inrormalion 10 be or an] value.
6. Andor Pigler, 8arock/h~m~n, 11, 1956.
pp. 529. 544-546
7, One nolable ex.: eplion is Baburen.s
Procur~ss of 1623, in the Residenz, Wurzburg
". . Ihe girl is un",lling. the old procuress is
firm. and the soldler demanding.' Leonard J
SIOIlkes. DircJ; von 8obur~" (c /595-/624/ A
25

Dulch Painlel' in UII'echl and Rolnt, Utrecht,
1969, p 7~,
8 Pcrhaps tbc carlicst cxamplc of tbc dcpiction
of a woman rcaching for tbc man's pursc
as she is bcing kisscd is Flol'a and Faunliw (?)
from Boccaccio. Dt clal'ia In ulitl'ibw , Ncw
York Public Library, Spcnccr Collection,
MS33. (second half of tbc fiftccnth ccntury),
Scc Julius Hcld. "Flora. Goddcss and
Courtcsan," Essa)'s in Honol' of Erwin
Panofsk)', Ncw York, 1961, pp. 201-218.
9. Many cxamplcs of tbc thcme of the illmatchcd
lovers cxist To list just a fe... of tbc
artists who havc dealt with it: Mctsys,
Cranach, Jan Lys. van Micris, Bylcrt. H. v. J.
Mijn. Tcrbrugghen. Furthcrmorc, thcrc are
also many cngravings: Hendrick Goltzius
(Bartsch 6-266-169, 170), arier H Goltzius
(Bartsch 3-204-302), Durer (Bartsch 7.103-93).
and Jacob Goltzius (Hollslcin 2; 3)
10. The thcmc of mcn bcing victimizcd by
womcn is weIl illustratcd in Philip Gallcn's
engraving after Macrtcn Hccmskcrks, The
Mighl oflhe Woman, whcre womcn ofthe Old
Testamcnt are shown, in six sccncs. in thc
proccss of maiming or trying to dcstroy a man,
lcading 10 his downfall. For furthcr discussion,
see two articlcs by Madlyn Kahr: .'Delilah:'
Al'l Bullelin, LlV. Sept., 1972. 282.299, and
..Rcmbrandl and Delilah." Al'l Bullelin, LV,
June, 1973,240-259.
fi
j
.;;,
Romaine IIrooks. Sel( Portrait pencil. a~e 25 (M allre Leon. M:lrle
Emmanuel.) Pholo: COUrle,) Doubled:l}
26
I 1 Seymour Sllve notes thai ..care must be
laken not to jump to hasty cr:-~lusions about
the character of a woman upon the basis of the
clothes she wears.' He cite~ the engraving of
.. Fair Alice,.' a courtesan in Crispin van de
Passe's A Looking Glass oflhr Mosl B~auliful
Courl~sa'lS of Th~se Timrs (1630), who is
dressed in the height of fashion: a mi 1I stone
ruff. a stiff bodice. and a cap Slive, Frans
Hals. I, London. 1971. pp. 92-93.
12 There are changes in proportion,
background. space. and the addition of a map
and a wine gliss The 1935 French edition of
the Mauritshuis catalogue (Hague. Royal Piclure
Gallery. Mus~e Royal de Tab/~aux
Maurilshuis a la Ha.I'e Calalogue Raiso/lne de
TablealLl: el Sr:ulprures( indicates thai another
version or this painting. mcluding a cat and a
globe and the monogram P M B, was in the
Porges Collection in Paris A suggestion is also
m;tde thai Hals '142-B (seamstress with old
m;tn) in the Hofstede de Groot catalogue
(Be.'chreibe/lde' und Arirschrs Vrrz~ichnis d~r
Hf'rkl! df'r hrrvnrragr/ldslr/l holla/ldisr:h~n
Malf'r dl!s ,\VII Jahrhundrrrs. Val, 111, Paris.
1910) (Engllsh trans, E,G, Hawke. London.
1910. muy be the Leyster in question
13, The text reads "Mignon des Dames'.
Een Stoof met vier daer in, is een bemint
luwell by anse Hollantsche Vrouwen, bysonder
:JI~ de Sneeu-vlocken vlieghen. en de Haghel
ende Rijp hel lor \'an de boomen jaeght
dan by henlleden de tweede plaetse van ghe.. ,
tc wesen wil bejaghen. die moet hem stellen om
haer te dienen met een soete boertighe. ver.
maekoelijcke praet. mydende alle dorperheYd
en vilonie sonder haer kaeckelen cende
snappen te berispen. nimmermeer haer puys
pronckende kleederen te bejocken: maer al
prysen wal zy doen en voorstellen, dan sal hy in
haer gheselschap voor een colmaect courtisaen
ghepresen worden, [A footwarmer with fire in
it is a beloved jewel with Dur Dutch warnen, es.
pecially when the snownakes fall and the h-:!
and the frost chase the leaves from the tr"
The man who wants to win attention in sec"
place with warnen (rlrst place goes to the
root-.armer) has to rush himself to serve her
-.ith sweet. funny. small talk. avoiding all
clumsiness and rudeness without reprimanding
her chatter and never making fun of her frilly
clothes, But ir he praises what she does and
ho-. she looks, then he will be praised in her
company as a perfect gentlemen (courtier).)
14 The painting is now held to be a work
"after" Metsu See FrankIIn W. Robinsc,
Gabril'/ M~rsu (/629./6671: A Sr ud)' 01
P/ac~ in Durch G~nrl' Painring 01 rhl' Go/",
Ag~. Ne-. York. 1974, p, 70,
15 Ibid,. pp, 19.20.
16. Lawrence Gowing, V~rml'~r. London.
1970, p. 115,
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8\' JILL JANOWS
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BROOKS,
FALL. "5
loveless circun
painler Rama
form 01 biL~r!
sludy lhOll \\ ou
seOl~oned 01
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