접시 Painted by hand in oil, brushstroke by brushstroke

Johannes The Elder Lutma: Master of Auricular Silver

Johannes Lutma the elder (born c. 1584 in Emden, Germany; died January 1669 in Amsterdam) stands as a pivotal figure in the late 17th-century Dutch goldsmithing scene – a period marked by unprecedented artistic innovation and opulent craftsmanship. Often overshadowed by his more famous contemporaries like Rembrandt, Lutma’s legacy lies in his pioneering work with “auricular” style silver, a technique that redefined decorative possibilities and profoundly influenced subsequent generations of artisans. His life was one of constant movement and adaptation, beginning in the German Rhineland before settling permanently in Amsterdam, where he established himself as a leading designer for wealthy patrons and ecclesiastical institutions. Lutma’s early training remains somewhat shrouded in mystery, though it is generally accepted that he studied under Paulus van Vianen, a master known for his distinctive “auricular” style – characterized by smooth, ear-like forms. This stylistic approach, emphasizing flowing curves and subtle ornamentation, became the foundation of Lutma's own artistic vocabulary. Following a period in Paris around 1615, where he likely honed his skills amidst the burgeoning artistic scene, Lutma arrived in Amsterdam in 1621, marrying Mayken Roelants shortly thereafter, and later Saera de Bie. His time in the bustling commercial center of Amsterdam proved to be fertile ground for his creative development, offering access to a wealthy clientele eager for luxurious objects. Crucially, Lutma didn’t invent the auricular style entirely. It had roots in earlier German goldsmithing traditions, but Lutma refined it, pushing its boundaries and establishing a distinct visual language. He skillfully combined this smooth, organic form with sharp angles, geometric shapes, and elaborate embellishments, resulting in a remarkably versatile aesthetic. His designs weren’t simply decorative; they possessed a sense of movement and rhythm that captivated viewers. Lutma's mastery of the auricular technique was remarkable. This involved creating flowing, undulating surfaces on silver that mimicked the shape of an ear – hence the name. It wasn't merely a stylistic choice; Lutma elevated it into a sophisticated design principle, utilizing it to create intricate patterns and dynamic compositions. He employed techniques like chasing (hammering metal to create raised designs) and repoussé (pushing metal from the back to create raised designs), combined with meticulous engraving, to achieve his desired effects. His work demonstrated an exceptional command of materials and a deep understanding of how light interacted with surface textures. The resulting pieces radiated elegance and sophistication, reflecting the grandeur of the era. The most celebrated example of Lutma’s artistic vision is undoubtedly “Dish” (1641). This exquisite Victorian/Art Nouveau silver serving dish exemplifies Lutma's dedication to capturing beauty through meticulous craftsmanship. Intricate chasing & repoussé details showcase German goldsmithing mastery, demonstrating a profound respect for tradition while simultaneously embracing innovative stylistic trends. The smooth, polished surface reflects light intensely, creating an aura of luxury and refinement – a testament to Lutma’s skill in manipulating texture and form. Consider the subtle symbolism embedded within the design: the tortoise-like animal's head dipping into the dish evokes notions of tranquility and contemplation, mirroring the serene aesthetic characteristic of Art Nouveau. Furthermore, “Ewer and basin” (1647) exemplifies Lutma’s ability to fuse organic forms with geometric precision. The ewer’s graceful curves contrast beautifully with the basin’s circular base, creating a harmonious balance that speaks to Lutma's understanding of visual proportion. The repoussé technique—hammering metal from the back—creates stunning relief work, highlighting Lutma’s mastery of material manipulation and his commitment to pushing artistic boundaries. This piece embodies the spirit of its time – a period of intellectual curiosity and artistic experimentation fueled by discoveries in science and philosophy. “Cartouche in auricular style” (1654) represents Lutma's exploration of textural complexity and visual storytelling. Engraving and etching combine to produce an intricate surface adorned with stylized floral motifs—a hallmark of Art Nouveau’s fascination with natural forms. The engraving reveals a hidden layer beneath the polished silver, adding depth and intrigue to the artwork. This piece underscores Lutma’s ability to transform simple materials into powerful expressions of artistic vision. Finally, “Two salts” (1639) showcases Lutma's masterful use of repoussé and chasing techniques to create a captivating textural interplay. The delicate tortoise motif—a recurring element in Lutma’s oeuvre—adds an element of symbolic richness to the composition. Like all of Lutma’s creations, this piece reflects the prevailing artistic sensibilities of its time – prioritizing beauty, harmony, and refined craftsmanship. A reproduction of “Dish” by Johannes Lutma the elder offers a window into the opulent world of 17th-century Dutch art. Its meticulous detailing—the smooth silver surface, the intricate chasing & repoussé work—captures the essence of Lutma’s artistic genius. It's an ideal addition to any discerning collection and serves as a reminder of the enduring power of beauty and craftsmanship.