Category:17th-century Flemish painters
Pages in category "17th-century Flemish painters"
The following 17 pages are in this category, out of 17 total, this list may not reflect recent changes (learn more).
The following 17 pages are in this category, out of 17 total, this list may not reflect recent changes (learn more).
1. Jan Brueghel the Elder – Jan Brueghel the Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Brueghel the Elder, a close friend of, and regular collaborator with, Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century. He was an important innovator who created new types of such as flower garland paintings, paradise landscapes. He further created genre paintings that were imitations, pastiches and reworkings of his fathers works and he was court painter of the Archduke and Duchess Albrecht and Isabella, the governors of the Southern Netherlands. The artist was nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, the first is believed to have been given him because of his mastery in the rendering of fabrics. The second nickname is a reference to his specialization in flower still lifes and these paintings have now been reattributed to Jan Brueghel the Elder. Jan Brueghel the Elder was born in Brussels as the son of Pieter Brueghel the Elder and his mother was the daughter of prominent Flemish Renaissance artist Pieter Coecke van Aelst and Mayken Verhulst. His father died about a year after Jans birth in 1569, Mayken Verhulst was an artist in her own right. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Mayken was the first art teacher of her two grandsons and she taught them drawing and watercolor painting of miniatures. Jan and his brother may also have trained with local artists in Brussels who were active as tapestry designers, Jan and his brother Pieter were then sent to Antwerp to study oil painting. According to Karel van Mander he studied under Peter Goetkint, an important dealer with a collection of paintings in his shop. Goetkint died on 15 July 1583 not very long after Jan had started his training and it is possible that Jan continued his studies in this shop, which was taken over by Goetkints widow as no other master is recorded. It was common for Flemish painters of that time to travel to Italy to complete their studies, Jan Brueghel left for Italy, first traveling to Cologne where his sister Marie and her family lived. He later visited Frankenthal, an important cultural centre where a number of Flemish landscape artists were active and he then went to Naples after probably spending time in Venice. In Naples he produced after June 1590 a number of drawings and he worked for Don Francesco Caracciolo, a prominent nobleman and priest and founder of the Clerics Regular Minor. Jan produced small-scale decorative work for Don Francesco, Brueghel left Naples for Rome where he resided from 1592 to 1594. Paul Bril was a landscape specialist from Antwerp who had moved to Rome at the end of the 16th century, together with his brother Mathijs Bril, he created atmospheric landscapes for many Roman residences. Brueghel took inspiration from Brils lively drawings and small-scale landscapes of the mid-1590s, during his time in Rome Jan Brueghel became acquainted with Hans Rottenhammer, a German painter of small highly finished cabinet paintings on copper
2. Pieter Brueghel the Younger – Pieter Brueghel the Younger or Pieter Bruegel the Younger was a Flemish painter, known for numerous copies after his father Pieter Bruegel the Elders work as well as his original compositions. The large output of his studio, which produced for the local and export market and these paintings have now been attributed to his brother Jan Brueghel the Elder. Pieter Brueghel the Younger was born in Brussels, the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder and his father died in 1569, when Pieter the younger was only five years old. Following the death of his mother in 1578, Pieter, together with his brother Jan Brueghel the Elder and sister Marie, Mayken Verhulst was the widow of the prolific artist Pieter Coecke van Aelst and an accomplished artist in her own right, known for her miniature paintings. According to the early 17th-century Flemish biographer Karel van Mander Mayken Verhulst was possibly the first teacher of her two grandsons, the Brueghel family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo. His teacher left Antwerp in 1585 and in the 1584/1585 registers of the Guild of Saint Luke, on 5 November 1588 Pieter married Elisabeth Goddelet. The couple had seven children, many of whom died young, one son called Pieter Brueghel III was also a painter. Pieter Brueghel the Younger operated a studio in Antwerp which produced mainly inexpensive copies of his fathers work for local sale. He was nevertheless often in difficulties, possibly due to drinking. He had at least 9 pupils including Frans Snyders and Andries Daniels and he died in Antwerp, aged 72. Pieter Brueghel the Younger painted landscapes, religious subjects, proverbs and his genre paintings of peasants emphasize the picturesque, and are regarded by some as lacking Pieter the Elders subtlety and humanism. He and his workshop were prolific copyists of Pieter Bruegel the Elders most famous compositions and his name and work were largely forgotten in the 18th and 19th centuries until he was rediscovered in the first half of the 20th century. Pieter Brueghel the Younger created original works largely in the idiom of his father which are energetic, bold and bright, one of the artists most successful original designs was the painting of The Village Lawyer. The different titles of the work indicate that it may have been interpreted in different ways in the 17th century. The picture also shows peasants lining up with such as chickens and eggs to please the lawyer. The painting shows his interest in and close observation of village life, Pieter Brueghel the Youngers workshop made many copies of the composition in different formats. There exist 19 signed and dated versions of work out of some 25 originals and 35 questionable versions. Another original composition of Pieter Brueghel the Younger is the Whitsun Bride, one of the copies was formerly held by the Metropolitan Museum
3. Jan Joost van Cossiau – Jan Joost van Cossiau was a Flemish landscape painter and engraver who was born near Breda. He spent most of his career in Frankfurt am Main and his landscapes usually include people, and also often buildings and cattle. They are in the “Italian style” and generally resemble those of Gaspard Dughet, Cossiau worked for Lothar Franz von Schönborn at his electoral court, as well as at his Schloss Weißenstein. He was also director of the gallery at Pommersfelden, where he established the final directory of paintings. In order to extend his gallery, Lothar Franz sent his two gallery directors often to the Netherlands and Italy, Jan Joost van Cossiau died in Mainz in 1732. Bauereisen, Hildegard, Der kurmainzische Hofmaler Jan Joost van Cossiau, ein spätbarocker Landschaftsmaler, New York, bryan, Michael, Robert Edmund Graves, Walter Armstrong, Dictionary of Painters and Engravers, G. Bell and Sons,1886,315. Thieme, Ulrich and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Reprint of 1907 edition, Leipzig, getty Union List of Artists Names
4. Isabella Francken – Isabella Francken was a Flemish painter who was active in the first part of the 17th century. She was a member of the large Francken family of artists, only a few works are currently attributed to her. These are history and genre paintings, which are in the representative of the Francken family workshop. Very little is known about the life and training of Isabella Francken and it is believed she was the daughter of Hieronymus Francken I. Her father had been a pupil of Frans Floris and had settled in France in 1578, Isabella Francken was active in the first half, and possibly even only in the first quarter, of the 17th century. Only two works are attributed to Isabella Francken, The Road to Calvary and a Witch scene. Both works are oil on copper paintings, the composition depicts the meeting between Christ carrying the cross and Saint Veronica who has a cloth to wipe Christs face. It is signed and dated lower left, I, the Witch scene depicts a gathering of witches in an interior. It is very close to the compositions of the subject by her cousins Frans Francken II
5. Jan Baptist Huysmans – Jan Baptist Huysmans was a Flemish painter active in Antwerp who is known for his Italianate and arcadian landscapes and architectural capricci. Jan Baptist Huysmans was born in Antwerp as the son of Hendrick Huysmans and he was baptized in Antwerp Cathedral on 7 October 1654. Jan Baptist was the brother of Cornelis, a prominent landscape painter and his brother Cornelis was possibly his teacher, although his possibly also studied for a while with the marine painter Hendrik van Minderhout. He was registered as a pupil at the Antwerp Guild of Saint Luke in 1675/76 and he possibly influenced Cornelis son Pieter Balthasar. In 1697-98 he had a pupil by the name of Peeter Geeraerts. Jan Baptist Huysman was a landscape artist and his work has often been confused with those of his elder brother Cornelis who painted the same subject matter. Like his brother Cornelis he painted imaginary Italianate landscapes and his works are often a fusion of the style of North European wooded landscape painting with the Italian inspired vista. In his landscapes with ruins Huysmans also shows his indebtedness to the type of landscape painting first popularised by Claude Lorraine in Rome. These landscapes often depict a glimpse of a pastoral idyll although they may include elements such as ruins and a tomb. An example is A ruined classical archway, which ruins of a triumphal arch. In the right foreground are also depicted satyrs and nymphs who are festooning an Egypto-Roman stone lion, as was common practice at the time, he collaborated with specialist painters in Antwerp such as the history and figure painter Jan-Erasmus Quellinus. Jan Baptist Huysmans would typically provide the elements in these collaborative works. Media related to Jan Baptist Huysmans at Wikimedia Commons
6. Katharina Pepijn – Katharina Pepijn or Catharina Pepijn was a Flemish painter who was known for her history and portrait paintings. Very little is known about the life and training of Katharina Pepijn and she was the daughter of Marten Pepijn and Marie Huybrechts. She likely trained with her father, a prominent painter in Antwerp, in 1654 she became a member of the Antwerp Guild of St. Luke as a wijnmeester, i. e. the daughter of a master. Very little is known about her career, at the end of her life she was renting a house in a beguinage. She was ill and was taken care off by a nurse, after she died she was buried in the church, which is now Antwerp Cathedral. Katharina Pepijn was known in her time as a history and portrait painter, currently only two works are attributed to Katharina Pepijn. Both works are portraits of abbots of St. Michaels Abbey near Antwerp, both works are oil on canvas paintings and were executed in the 1650s. They were originally kept at St. Michaels Abbey, the earlier Portrait of Abbot Joannes Chrysostomus van der Sterren, abbot of St Michaels Abbey was made shortly after his death in 1652. Her portrait paintings are in the style of Rubens and van Dyck
7. Marten Pepijn – Marten Pepijn was a Flemish painter who was mainly known for his large-scale history paintings and to a lesser extent for his smaller genre scenes. Marten Pepijn was born in Antwerp as the son of WIllem Pepijn and his father was a buyer of used clothes and art dealer in Antwerp. It is not clear with whom Marten trained, in 1600 he was admitted as a master in the Antwerp Guild of Saint Luke as a ‘wijnmeester’, i. e. the son of a member. The 17th-century Flemish biographer Cornelis de Bie reported in his 1662 Het Gulden Cabinet that Pepijn visited Italy and he married on 1 December 1601 with Marie Huybrechts with whom he had five children, Willem, Adriaan, Marten, Martha and Katharina. His daughter Katharina became a portrait painter in the style of Rubens. A son also became a painter but nothing his known about his work, the artist also had a close relationship with Anthony van Dyck who painted his portrait. This painting ended up in the 19th century in the collection of the Dutch king William II, between 1602 and 1628 Maarten Pepijn took on eight apprentices. In addition to his own children, his pupils were Hans Caes, Claes Fopsen, Hans Bosken, Matthieu Matthiesen, Matthys Goossens, François Lemmens, Joris Sebil, Marten Pepijn suffered of ill health at the end of his life and died in Antwerp in 1643. Marten Pepijn was mainly known for his religious compositions, and in particular. His style in works is old-fashioned. The figures are depicted in stiff poses reminiscent of 16th-century sculpture. His work shows an influence by Ambrosius Francken the Elder. This wing is now attributed to Ambrosius Francken the Elder by the Netherlands Institute for Art History, pepijn’s work is further characterized by its excellent portraiture. This is demonstrated in the composition Saint Bernard and the Duke of Aquitaine, some of these pictures bearing a monogram show a style, which is completely different from the large-scale, muscular religious works of Pepijn. These works are believed to have produced in a period when Pepijn had close contact with the leading Anwerp painter Frans Francken the Younger. These small-scale compositions contain little figures with stereotyped faces and soft contours and this style is found in his allegories of the Five Senses, The Ball and the Ball at Court. This last composition is signed and dated 1604 and depicts an elegant dance party, the influence of early works by Hieronymus Francken the Elder and Frans Francken the Younger, who were both known for their depictions of similar scenes, is apparent. The difference between the styles of these compositions and his larger, religious works has yet to be satisfactorily explained
8. Peter Paul Rubens – Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
9. Anthoni Schoonjans – Anthoni Schoonjans was a Flemish painter. Schoonjans was born in Antwerp and became a pupil of Erasmus Quellinus II and he travelled to Rome and like his teachers had done before him, joined the Bentvueghels with the nickname Parrhasius in 1674. In Rome he lived with Carel de Vogelaer in the Via Margutta and later he lived from 1688-89 in the Corso, in 1695 he became court painter in Vienna, where he later died. During the course of his career he also worked in Antwerp, Riems, Lyon, Amsterdam, the Hague, Brno, Düsseldorf, Copenhagen. He is known for portraits and historical allegories, and was the teacher of Georg Gsell
10. Gaspar Peeter Verbruggen the Younger – Gaspar Peeter Verbruggen the Younger, was an 18th-century Flemish painter of still lifes. He was the son of Gaspar Peeter Verbruggen and half-brother of Balthasar Hyacinth Verbruggen, another of his pupils, Jacob Melchior van Herck, was his brother-in-law. He worked with Peeter-Frans Bailliu and Matheus Terwesten in the Hague and he became master in the Antwerp Guild of St. Luke in 1677 when he was only aged 13, and became its deacon in 1691. In 1694 he gave a work to the guild in thanks for accepting his pupils Balthasar Hyacinth and he became a member of the Confrerie Pictura in 1708, where he was the teacher of Peter Frans Casteels, and Gillis Vinck. He painted still lifes, floral still lives, fruit still lives and art galleries