艾萨克范.奥斯塔德Isack van Ostade（1621年6月2日——1649年10月16日），荷兰画家。
凡OSTADE开始了他的哥哥，在他的研究迪恩，与他保持直到1641年，当他开始了自己的做法。在较早的时期，他觉得伦勃朗的影响，这是明显的杀年猪的1639年，在奥格斯堡的库。他很快就找到了风格更适合自己的倾向。他制作的图片在1641年至1642年在他的兄弟的线条-这当中的五感，这阿德里安事后被代表的人读一纸，一农民品尝啤酒，一个仿古他涂抹软膏溃疡和乡下人在嗅探鼻烟壶。在此期间，艾萨克工作的一个标本可能会在看到一个罐啤酒笑莽汉，在阿姆斯特丹的博物馆; 山寨内，有两个农民和近火，在柏林博物馆的三个孩子; 一个音乐会，与人听伴随着风笛和长笛演奏家歌手和一个莽汉偷接吻从女人的拉卡兹收藏在卢浮宫英寸
在柏林内部是从同一个窗子一点燃Rembrandtesque风格阿德里安的卢浮宫的1643内部。他接受低廉的价格对于这种绘画中，他只能留服从他的兄弟。渐渐地，他放弃了阿德里安的山寨科目中的时尚风景以赛亚范德维德和所罗门面包车雷斯达尔。只有一次，1645年，他恢复到以前的状态，当他产生杀年猪，一个男孩膨化出膀胱，在里尔博物馆。
以撒在他的新路径的进展由他以前的经历作为人物画家大大便利; 并且，虽然他现在无论是从高庄街道或结冰的河面选择他的臣民，他通过描绘如画对比的精致和搜索研究的人的动画组给了鲜活的生命的场景。他没有在有生之年把他的艺术的最高完美。他于1649年10月16日去世已经绘约400张照片（详见H德格鲁特，1910）。
阿德里安的风格以撒投降的第一个表现在1644年很明显，当滑冰和雪橇场面被执行，我们的拉卡兹收集和冬宫的画廊中看到的安特卫普和里尔。这些例子三熊艺术家的名字，拼写Isack面包车OSTADE，以及1644年和1645年的路边旅馆的日期，以旅客的暂停，形成于1649年，从1646紧致系列这是艾萨克·艺术的最后一种形式，具有非常鲜明的特点。它贯穿他的作文的空气是温暖和阳光充足，但圆润朦胧，仿佛天上是与荒野彩色烟雾蒸汽面纱。树是红棕色的拓片，其中突出的树叶是打翻与琥珀清漆介质以液态硬化的触动。适用于细节，如釉面在小屋的泥衬砖或租金同样的原则也给出了一个虚幻而传统印花给他们。
这些怪癖是由他宽阔的明暗和马匹，骑手，旅行者，乡下人，吵架的孩子，狗，家禽和牲畜精湛数字的对比克服。最喜欢的地方始终给予白马，这似乎是不变的伴奏中的小冲突和交易会灰色菲利普Wouwerman。
艾萨克显示在冬天场景中最优秀的品质。没有叶子，清脆的气氛和寒冷的一月天，烟雾或蒸汽脱俗平静的空气，排除使用棕色色调，以及留下画家无奈地响了种类繁多的蛋白石色调的变化。随后出现的数字与背景光精湛的效果。当中路边客栈值得注意的是那些在收藏白金汉宫的国家美术馆，伦敦的华莱士收藏在英国和海福收藏，卢浮宫，柏林，冬宫和鹿特丹博物馆和维也纳的罗斯柴尔德的集合。最好的冰场景是在卢浮宫著名之一。
Van Ostade began his studies under his brother, Adriaen, with whom he remained until 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre.
The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced theSlaughtered Pig, with a boy puffing out a bladder, in the museum of Lille.
Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910).
The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such as glazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them.
These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman.
Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.
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