Woody van Amen
Wilhelmus Josephus van Amen is a Dutch sculptor and collage artist. Van Amen studied at the Rotterdam Academy and his teachers included Louis van Roode. From 1970 he taught at the same Academy, in 1959 he made the longest paintings in the world, which were abstract paintings made on organ books. From 1961 he spent two years in the United States and he was introduced to the work of American artists such as Andy Warhol and Robert Rauschenberg, pioneers in the pop art movement. These artists used everyday objects in their work. Van Amen drew inspiration from this approach and made a number of paintings in which he incorporated familiar brands from the Netherlands, back in the Netherlands, he developed his own style and at one point moved on to using other techniques. He devoted himself to assemblage art and he made his works from a variety of objects taken from everyday life. He created art that was intended to shock the establishment, for example, his work Electric Chair from 1964 was an assemblage piece made of waste wood and had everything necessary for the execution of the death sentence.
At the same time it looks clumsy and too cozy with a pot full of geraniums. The public reaction to the work was negative and the work was not regarded as art, the work was rejected for an exhibition in Schiedam. The period 1966-1967 saw a change in the themes prevalent in Woody van Amens work, the new work involved a study of the visual aspects of movement and light reflection. The artist started to experiment with new materials such as perspex, in 1968 Woody van Amen started to experiment with ice. He took a freezer apart and resassembled it inside out, a beautiful coat of white frost formed on the modified shape of the cooling element. Woody van Amen made a series of Vibro-objects intended as a take on consumer society. He modified the weight loss devices of that time so that they were deprived of their function. The steel springs that were attached to the devices vibrated so that the whole resembled fat western bodies that were trembling and shivering, in the 1970s he started to make frequent trips to Switzerland and Southeast Asia, which is the basis of an oriental influence in his work.
His art moved away from pop art and became difficult to classify and he started using a few recurring forms in his works such as the Matterhorn and a form he refers to as the taxat, which is based on an Oriental symbol. In 1993 he was the recipient of the Chabot Prize which is awarded by the Prins Bernhard Cultuurfonds, museum Valkhof organised in 2003 a retrospective of his work and a catalogue raisonné of his work was published
Philips Angel I
Philips Angel I was a Dutch painter of still lifes. Philips Angel I left his native Middelburg in 1639 to establish himself as a still life painter in Haarlem and he entered the Haarlem Guild of St. Luke in 1639 and was still mentioned as a member in 1643. He returned to Middelburg at least in 1652 and remained there until his death, Philips Angel Is life and work are often mixed up with those of a relative, the contemporary painter of the same name, born in 1618 in Leiden. Philips Angel II was active as a painter in Leiden from 1637 to 1645, sailed to Batavia, approximately 30 paintings are currently attributed to Philips Angel I, some with dates between 1642 and 1664 or 1668. He was mainly a still life painter and his works fall into three main groups, barn interiors with an emphasis on the still life element and still lifes with dead fowl. The influence of François Ryckhals can be seen in the first two groups, Ryckhals may have been Angel’s teacher in Middelburg. His ontbijtjes show the influence of Haarlem painters such as Floris van Dyck in their tendency to build compositions from individually studied components, the still lifes with dead fowl belong to his best works and are similar to the game pieces of the Flemish painters Jan Fyt and Alexander Adriaenssen.
These works demonstrate Angels skill at painting fur and feathers, a still-life, signed P. Angel,1660 — is in the Berlin Museum. Still-life with crayfish, Museum Bredius Still-life with dead birds on a table,1649, Old Town Hall of Middelburg Still life paintings on Artnet
Johannes Josephus Aarts
Johannes Josephus Aarts was a Dutch painter, lithographer, etcher, academic teacher and director, lecturer and book-cover designer. Jan Aarts received training in the Royal Academy of Art, The Hague and he was active there until 1911, and in Amsterdam from 1911 to 1934. Initially, until around 1900, Aarts worked above all on engravings, thereafter he began to use other graphic methods. In his work, one found depictions of farmworkers, dyke workers and also tramps, between 1920 and 1930 he produced mostly visionary work with apocalyptic scenes. He thereby contributed to the renewal of various techniques in the Netherlands. He painted portraits and landscapes, including cityscapes and dune-landscapes, media related to Johannes Josephus Aarts at Wikimedia Commons Entry for Johannes Josephus Aarts on the Union List of Artist Names
Evert van Aelst
Evert van Aelst, sometimes known as Everard Aalst, was a Dutch still life painter. Van Aelst was the uncle and teacher of Willem van Aelst, both were famous for their still life paintings of game, vases, etc. He was influenced by Pieter Claesz, according to Houbraken, he spent four years in France and seven in Italy. The grand duke of Tuscany became his patron and handsomely rewarded him for his works, when he returned to the Netherlands he settled in Delft, where he set up shop making still lifes, which were highly successful in his lifetime. Emanuel de Witte, his nephew Willem and Jacob Denys were his students, a New General Biographical Dictionary, London, B
Aert Anthonisz, known as Aart van Antum was a Dutch marine-painter. Until 1973 this painter was known as Aart van Antum, after his early signatures were interpreted as Aert Antum, research showed his signature to be AERT ANT, whereby the last letters are sometimes included in varying degrees of completion. One reason so little is known of him, is that his life and his parents moved the family in 1591 to Amsterdam. He was possibly a pupil of Hendrick Cornelisz Vroom, in 1603 he signed a paper in Amsterdam that he was 23 years old and had lived there for 12 years, when he married Baycken Coutermans from Mechelin. She in turn was given power of attorney by him to settle an inheritance in Mechelin in 1614 and he was buried in the Zuiderkerk of Amsterdam. Anthonisz was the father of the marine painter Hendrick van Anthonissen, a seapiece by him, signed A. A. is in the Berlin Museum. Aert at the RKD databases Aart van Antum on Artnet
Sir Lawrence Alma-Tadema, OM, RA was a Dutch painter of special British denizenship. Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870, Lourens Alma Tadema was born on 8 January 1836 in the village of Dronrijp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning son of Tade, while the names Lourens and he was the sixth child of Pieter Jiltes Tadema, the village notary, and the third child of Hinke Dirks Brouwer. His father had three sons from a previous marriage and his parents first child died young, and the second was Atje, Lourens sister, for whom he had great affection. The Tadema family moved in 1838 to the city of Leeuwarden. His father died when Lourens was four, leaving his mother with five children, his sister and his mother had artistic leanings, and decided that drawing lessons should be incorporated into the childrens education. He received his first art training with a drawing master hired to teach his older half-brothers.
It was intended that the boy would become a lawyer, diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure and painting. Left to his own devices he regained his health and decided to pursue a career as an artist, in 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tademas four years as a student at the Academy. Although de Taeye was not a painter, Alma-Tadema respected him and became his studio assistant. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career and he was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Under his guidance Alma-Tadema painted his first major work, The Education of the children of Clovis and this painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp.
It is said to have laid the foundation of his fame, Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this very seriously, and it led him to improve his technique and to become the worlds foremost painter of marble. Merovingian themes were the favourite subject up to the mid-1860s. It is perhaps in this series that we find the artist moved by the deepest feeling, however Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt that were more popular. On these scenes of Frankish and Egyptian life Alma-Tadema spent great energy, in 1862 Alma-Tadema left Leyss studio and started his own career, establishing himself as a significant classical-subject European artist
Cornelis Apostool was a Dutch artist and museum director. Cornelis Apostool was born on 6 August 1762 in Amsterdam in the Dutch Republic and his father was Jan Apostool, a Mennonite and a merchant in animal skins and cocoa beans, and his mother was Cornelia de Witte. He was the eleventh of twelve children, six of whom died at a young age, Apostool studied foreign languages with a French teacher in Delft. He did an apprenticeship with a salesman in silver and gold in Rotterdam, from 1784 to 1786, he was a pupil of landscape painter Hendrik Meijer at the art academy back in Amsterdam. In 1786, Meijer and Apostool went to England, where Apostool stayed and lived to work as an engraver of aquatints and he became the Commissary-general of Commerce in London around 1793. After the Batavian Revolution, he negotiated the exchange of prisoners of war for the Batavian Republic in London, in 1796, he returned to his native country. From 1798 to 1802, Apostool worked as an illustrator for the Agency of Interior Police and Water Management, in 1802, Apostool returned to his position as Commissary-general of Commerce in Londen, and he negotiated the release of Batavian ships.
In 1806, he was appointed Government Secretary in the Dutch East Indies, but before he even arrived there, Louis Bonaparte became King of Holland and Apostool returned. In 1807, he briefly was a diplomat in the Kingdom of Naples, in 1808, Apostool was appointed director of the Royal Museum in Amsterdam, which office he held until his death. He died on 10 February 1844 at the age of 81 in Amsterdam, works by Cornelis Apostool in the collection of the Rijksmuseum
Pieter van Anraedt
Pieter van Anraedt was a Dutch Golden Age painter of history scenes. Little is known about the circumstances of his life, according to the RKD he was born in Utrecht, but trained in Deventer, where he was influenced by Gerard ter Borch. Arnold Houbraken mentions that this painter was very friendly with Jan van der Veen and he married his daughter and moved to Amsterdam in the rampjaar 1672, where he won a commission to paint the regents of the huiszitten house on the Oudezijds Voorburgwal, where he lived. This piece was highly admired and was known to Houbraken in 1718, soon after painting this portrait, Anraedt returned in 1675 to Deventer, where he died. Record for Regents painting in the RKD Record for Regents painting in the Amsterdams Historisch Museum Rose, a New General Biographical Dictionary, London, B
Jacobus Theodorus Jacob Abels was a Dutch painter. Abels was born in Amsterdam in 1803 and he was a pupil of the animal painter Jan van Ravenswaay. In 1826 Abels had visited Germany, and on his return settled at the Hague and his wife was the daughter of P. G. Between 1849 and 1853 he lived in Haarlem and he moved to Arnhem and he was especially noted for his paintings of moonlit landscapes. The Museum at Haarlem has works by him, Abels died at Abcoude on 11 June 1866