1.
Flemish Baroque painting
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Flemish Baroque painting refers to the art produced in the Southern Netherlands during Spanish control in the 16th and 17th centuries. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, Rubens, in particular, had a strong influence on seventeenth-century visual culture. By the seventeenth century, however, Antwerp was the city for innovative artistic production. Brussels was important as the location of the court, attracting David Teniers the Younger later in the century, between 1585 and the early 17th century they made many new altarpieces to replace those destroyed during the iconoclastic outbreaks of 1566. Also during this time Frans Francken the Younger and Jan Brueghel the Elder became important for their small cabinet paintings, often depicting mythological and history subjects. Following his return to Antwerp he set up an important studio, training such as Anthony van Dyck. Most artists active in the city during the first half of the 17th century were influenced by Rubens. Flemish art is notable for the amount of collaboration that took place between independent masters, which was partly related to the local tendency to specialize in a particular area. Frans Snyders, for example, was a painter and Jan Brueghel the Elder was admired for his landscapes. Both artists worked with Rubens, who often painted the figures. In Antwerp, however, this new genre also developed into a specifically Catholic type of painting, history painting, which includes biblical, mythological and historical subjects, was considered by seventeenth-century theoreticians as the most noble art. Abraham Janssens was an important history painter in Antwerp between 1600 and 1620, although after 1609 Rubens was the leading figure, both Van Dyck and Jacob Jordaens were active painting monumental history scenes. Following Rubenss death, Jordaens became the most important Flemish painter, during the second half of the century, history painters combined a local influence from Rubens with knowledge of classicism and Italian Baroque qualities. Artists in the vein include Erasmus Quellinus the Younger, Jan van den Hoecke, Pieter van Lint, Cornelis Schut, later in the century, many painters turned to Anthony van Dyck as a major influence. Among them were Pieter Thijs, Lucas Franchoys the Younger, and artists who were inspired by Late Baroque theatricality such as Theodoor Boeyermans. Additionally, a Flemish variant of Caravaggism was expressed by Theodoor Rombouts, Rubens is closely associated with the development of the Baroque altarpiece. He also exerted an influence on Baroque portraiture through his student Anthony van Dyck. Van Dyck became court painter for Charles I of England and was influential on subsequent English portraiture, other successful portraitists include Cornelis de Vos and Jacob Jordaens
Flemish Baroque painting
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Peter Paul Rubens, The Raising of the Cross, c. 1610–1611
Flemish Baroque painting
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Frans Hogenberg, The Calvinist
Iconoclastic Riot of August 20, 1566 when many paintings and church decorations were destroyed and subsequently replaced by late
Northern Mannerist and Baroque artists.
Flemish Baroque painting
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Frans Francken the Younger, Preziosenwand (Wall of Treasures), 1636. Kunsthistorischesmuseum, Vienna. This type of painting was one of the distinctly Flemish innovations that developed during the early 17th century.
Flemish Baroque painting
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Anthony van Dyck, Portrait of King Charles I ('Le roy à la Chasse'), 1635. Louvre, Paris.
2.
Jan Brueghel the Elder
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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
Jan Brueghel the Elder
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Family of Jan Breughel the Elder, c. 1612-13, by
Peter Paul Rubens, depicts Brueghel, his wife Catharina van Mariënburg and their eldest surviving children: Elisabeth (b. 1609) and Pieter (b. 1608).
Jan Brueghel the Elder
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Bouquet, painted 1603.
Jan Brueghel the Elder
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The Battle of Issus (ca. 1599-1600) in
the Louvre.
Jan Brueghel the Elder
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The Entry of the Animals Into
Noah's Ark, painted 1613.
3.
Antwerp
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Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
Antwerp
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Antwerp Antwerpen
Antwerp
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Coat of arms
Antwerp
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The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp
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Grote Markt
4.
Ambrosius Brueghel
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Ambrosius Brueghel was a Flemish painter from the famous Brueghel family of artists. Less prolific and less well-known than a number of his members, his oeuvre is not very well understood and is believed to comprise Baroque still lifes. Ambrosius Brueghel was born in Antwerp as the son of Jan Brueghel the Elder and his grandfather was one of the leading painters in Antwerp and the son of the famous Renaissance painter Pieter Brueghel the Elder. His older -brother Jan Brueghel the Younger was also a painter and his sister Anna married the prominent court painter David Teniers the Younger in 1637. Ambrosius is known to have collaborated with his brother-in-law on some landscapes with genre scenes and his sister Paschasia married the painter Hieronymous van Kessel the Younger. Another sister Catharina married the painter Jan Baptist Borrekens, as his father died when Ambrosius was only seven years old, he was placed under the guardianship of prominent painters Hendrick van Balen, Cornelis Schut and Pieter de Jode the Elder. Hendrick van Balen fostered his artistic training and it is possible that Ambrosius trained with his brother Jan. Ambrosius is believed to have had plans to travel abroad after 10 September 1639 as he made a will on that date, the making of a will was customary at the time for persons who were about to embark on a long trip. Ambrosius Brueghel became a member of the Antwerp Guild of Saint Luke in 1645, in 1649 he became a member of the chamber of rhetoric De Violieren. On 21 February of the year he married Anna Clara van Triest who was from a well-to-do family. The couple would have four children, the artist was well-respected in the community and was appointed wijkmeester of his district. In 1650, Ambrosius Brueghel visited his brother Jan in Paris and he served as deacon of the Guild in 1653,1665,1671 and 1673. Ambrosius Brueghels work has described as being in the same style as that of his father. The problem is only very few works have been attributed to this artist. Regularly still lifes have been attributed to Ambrosius Brueghel, but none of these attributions are firm, a vanitas still life discovered in 1966 of a large vase of flowers marked AB was attributed to Ambrosius but it is now given to Adriaen van Nieulandt. The only painting that has been attributed to the artist with some level of certainty is the Holy Virgin and they typically show a flower garland around a devotional image or portrait. This genre was inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court, landscapes by Ambrosius have been recorded in the estate of the family of his guardian Hendrick van Balen. The location of paintings is now unknown
Ambrosius Brueghel
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Holy Virgin and Child
5.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
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The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
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Flag
Italy
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The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
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Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
6.
Abraham Janssens
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He was the leading history painter in Flanders prior to the return of Rubens from Italy. Abraham Janssens was born in Antwerp as the son of Jan Janssens, there is some uncertainty regarding his year of birth. He was previously thought to have born in the year 1567. Janssens studied under Jan Snellinck and was registered as a pupil in the local Guild of Saint Luke in 1585 and he travelled to Italy where he resided mainly in Rome between 1597 and 1602. After returning to his country he became a master in the Antwerp Guild in 1602. On 1 May 1602 he married Sara Goetkint with whom he had 8 children, five of whom were alive at the time of her death, Maria Anna, Sara, Catharina, Lucretia. In 1607 he became the dean of the Antwerp Guild of St Luke and this is also the time when he received his first major commissions, which initiated the most important period of his career. Until the return of Rubens to Antwerp in 1608, Janssens was considered perhaps the best history painter of his time, after Rubens became the dominant force for large altarpieces in the Antwerp market, Janssens had to find commissions for large monumental works from provincial patrons. Janssens joined in 1610 the Confrerie of Romanists, a society of Antwerp humanists and artists who had travelled to Rome, the diversity and high positions held by the Confreries membership offered him a good opportunity to meet with potential patrons. His pupils included his son Abraham Janssens II, Giovanni di Filippo del Campo, Michele Desubleo, Nicolas Régnier, Gerard Seghers, Theodoor Rombouts, Janssens painted both religious, mythological and allegorical scenes, and occasionally a portrait. He also painted scenes representing the five senses or the seven deadly sins. Janssens affixed the signature Janssens van Nuyssen to several of his pictures and it is difficult to determine the chronology of Janssens oeuvre, as he only dated or documented a few of his works. His earliest works are steeped in late 16th-century Mannerism and are characterized by an artificial design, the work Diana and Callisto does, however, rely on Italian sculpture of both Antiquity and the Renaissance, as does his later work. Following his return to Antwerp in 1602 Janssens work displayed a reliance on Raphael. From 1606 onwards, his style started to show the influence of Caravaggio and it is believed that this was a response to new tendencies in the Antwerp school of painting around this time. He painted in this style for about five to six years and his composition Scaldis and Antverpia of 1609 is a key work of Janssens’ Caravaggesque period. Rubens also received a commission for the same occasion and it was hoped that the Truce would bring new prosperity and trade to Antwerp, for which the city had traditionally relied on the river Scheldt. The subject of the work is therefore Scaldis and Antverpia and this work was made when Janssens artistic powers reached their peak
Abraham Janssens
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Scaldis and Antverpia
Abraham Janssens
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The crucifixion
Abraham Janssens
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Jupiter rebuked by Venus
7.
Guild of Saint Luke
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The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the saint of artists. One of the most famous such organizations was founded in Antwerp and it continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where members could sell paintings in the city or have a shop. The guild of Saint Luke not only represented painters, sculptors, and other artists, but also—especially in the seventeenth century—dealers, amateurs. In traditional guild structures, house-painters and decorators were often in the same guild, however, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients, in such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become an artistic center until the sixteenth century, Antwerp was one of, if not the first. It is first mentioned in 1382, and was given privileges by the city in 1442. The registers, or Liggeren, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Membership also allowed members to sell works at the guild-owned showroom, Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the republic became more important artistic centres in the late sixteenth. Amsterdam was the first city to reissue a St. Lukes charter after the reformation in 1579, and it included painters, sculptors, engravers, for example, Gouda, Rotterdam, and Delft, all founded guilds between 1609 and 1611. On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem, in the Haarlem Guild of St. Luke, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected
Guild of Saint Luke
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Jan Gossaert, St. Luke Painting the Madonna, c. 1520-25).
Kunsthistorisches Museum, Vienna
Guild of Saint Luke
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Saint Luke Drawing the Virgin, c. 1435–1440. 137.5 x 110.8cm.
Museum of Fine Arts, Boston. This was the classic subject for paintings given to the guilds
Guild of Saint Luke
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The Governors of the
Haarlem Guild of St. Luke in 1675.
Jan de Bray painted himself second from the left. Surprisingly, fewer such group portraits exist for painters than other Guild occupations.
Guild of Saint Luke
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1730s engraving of the Delft Guild of St. Luke, by an unknown artist. Today the location of the
Vermeer Centre
8.
Austria
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Austria, officially the Republic of Austria, is a federal republic and a landlocked country of over 8.7 million people in Central Europe. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, the territory of Austria covers 83,879 km2. The terrain is mountainous, lying within the Alps, only 32% of the country is below 500 m. The majority of the population speaks local Bavarian dialects of German as their native language, other local official languages are Hungarian, Burgenland Croatian, and Slovene. The origins of modern-day Austria date back to the time of the Habsburg dynasty, from the time of the Reformation, many northern German princes, resenting the authority of the Emperor, used Protestantism as a flag of rebellion. Following Napoleons defeat, Prussia emerged as Austrias chief competitor for rule of a greater Germany, Austrias defeat by Prussia at the Battle of Königgrätz, during the Austro-Prussian War of 1866, cleared the way for Prussia to assert control over the rest of Germany. In 1867, the empire was reformed into Austria-Hungary, Austria was thus the first to go to war in the July Crisis, which would ultimately escalate into World War I. The First Austrian Republic was established in 1919, in 1938 Nazi Germany annexed Austria in the Anschluss. This lasted until the end of World War II in 1945, after which Germany was occupied by the Allies, in 1955, the Austrian State Treaty re-established Austria as a sovereign state, ending the occupation. In the same year, the Austrian Parliament created the Declaration of Neutrality which declared that the Second Austrian Republic would become permanently neutral, today, Austria is a parliamentary representative democracy comprising nine federal states. The capital and largest city, with a population exceeding 1.7 million, is Vienna, other major urban areas of Austria include Graz, Linz, Salzburg and Innsbruck. Austria is one of the richest countries in the world, with a nominal per capita GDP of $43,724, the country has developed a high standard of living and in 2014 was ranked 21st in the world for its Human Development Index. Austria has been a member of the United Nations since 1955, joined the European Union in 1995, Austria also signed the Schengen Agreement in 1995, and adopted the euro currency in 1999. The German name for Austria, Österreich, meant eastern realm in Old High German, and is cognate with the word Ostarrîchi and this word is probably a translation of Medieval Latin Marchia orientalis into a local dialect. Austria was a prefecture of Bavaria created in 976, the word Austria is a Latinisation of the German name and was first recorded in the 12th century. Accordingly, Norig would essentially mean the same as Ostarrîchi and Österreich, the Celtic name was eventually Latinised to Noricum after the Romans conquered the area that encloses most of modern-day Austria, around 15 BC. Noricum later became a Roman province in the mid-first century AD, heers hypothesis is not accepted by linguists. Settled in ancient times, the Central European land that is now Austria was occupied in pre-Roman times by various Celtic tribes, the Celtic kingdom of Noricum was later claimed by the Roman Empire and made a province
Austria
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First appearance of the word "ostarrichi", circled in red. Modern Austria honours this document, dated 996, as the founding of the nation.
Austria
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Flag
Austria
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Venus of Willendorf, 28,000 to 25,000 BC.
Museum of Natural History Vienna
Austria
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"Heidentor" – Remains of the
Roman military city of
Carnuntum
9.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
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The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
10.
Rubens
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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
Rubens
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Self-portrait, 1623,
Royal Collection
Rubens
–
Rubens and
Isabella Brant, the
Honeysuckle Bower, c. 1609.
Alte Pinakothek
Rubens
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The garden Rubens planned at
Rubenshuis, in
Antwerpen
Rubens
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Portrait of a Young Scholar, from 1597
11.
Hendrick van Balen
–
Hendrick van Balen or Hendrick van Balen I was a Flemish Baroque painter and stained glass designer. Hendrick van Balen specialised in cabinet pictures often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent, the artist played an important role in the renewal of Flemish painting in the early 17th century and was one of the teachers of Anthony van Dyck. Hendrick van Balen was born in Antwerp, the date of his birth is not known but was likely 1573 as the birth records of the St George Church of Antwerp for that year are missing. His parents were the merchant Willem van Balen and Machteld van Alten and his family was well-off and thus able to let Hendrick have a good training which included the study of a number of languages. Van Balen was a pupil of Adam van Noort and possibly also of Maerten de Vos and he became a member of the Antwerp Guild of Saint Luke in 1592-1593 at the age of 17. In 1608-1609 he was the dean of the Guild and in 1609-1610 he was the first dean. From about 1595 to 1602 he studied art while traveling in Italy, although there is no record of his Italian journey, on his return to Antwerp, he became a member of the Guild of Romanists. It was a condition of membership that the member had visited Rome, in the year 1613 the Guild chose him as its dean. In 1605 Hendrick van Balen married Margriet Briers in Antwerp, the couple had 11 children and three of their sons became painters, Jan van Balen, Gaspard van Balen and Hendrick van Balen the Younger. His daughter Maria married the painter Theodoor van Thulden, in 1613 he accompanied Rubens and Jan on a diplomatic mission to the Dutch Republic. Here they met Hendrick Goltzius and other Haarlem artists, van Balen led for over 30 years a successful workshop and had many pupils. He was the teacher of his son Jan van Balen as well as of leading Flemish painters Anthony van Dyck and he was a contemporary of some of the best-known Flemish artists, such as Rubens and Jan Brueghel the Elder. Hendrick van Balen specialised in cabinet pictures often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent and he also created a number of stained glass designs. While he had a preference for the smaller scale in his later career. These show the influence of his teacher Adam van Noort and his later altarpieces, with their rich and subtle palette, appear to have been painted after van Dycks arrival in his studio. Hendrick van Balens mythological and biblical scenes were painted on small plates or copper plates
Hendrick van Balen
–
The mystical marriage of St Catharine
Hendrick van Balen
–
Bacchus en Diana
Hendrick van Balen
–
Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons
12.
Adriaen Stalbemt
–
Adriaen or Adriaan van Stalbemt or Adriaen van Stalbempt was a Flemish painter and printmaker who is known for his landscapes with religious, mythological and allegorical scenes. He was also a figure painter who was regularly invited to paint the staffage in compositions of fellow painters. The Flemish biographer Cornelis de Bie stated in his book of artist biographies Het Gulden Cabinet, published in 1661, no baptismal records from Antwerps churches for the artist exist as his family was Protestant. After the fall of Antwerp in 1585, his family moved for religious reasons to Middelburg, here he probably received his artistic training. He was admitted in 1610 as a master of the Antwerp Guild of St Luke, in 1617 he was elected dean of the Guild. In this role he was able to obtain the reinstatement of certain privileges of the chamber of rhetoric the Violieren and he established himself as a painter of landscapes but was also a capable staffage and animal painter. He worked on commissions for the art dealer Peter Goetkint II for whom he made cabinet paintings, on 5 May 1613 Adriaen van Stalbemt married Barbara Verdelft, daughter of the art dealer Jan Verdelft. A daughter born to the couple died young and the couple remained childless, after his wedding the artists career started to take off and the family was able to establish themselves in the fashionable city centre on the Meir. In 1616 Hans Mesmaeckers is registered as his pupil, in 1633 the artist was active in London for about ten months. Cornelis de Bie reported that King Charles I of England had invited the artist to England, during his stay he painted two landscape views of Greenwich with King Charles I and Queen Henrietta Maria. The artist had converted back to Catholicism upon his wedding but had returned to the Protestant faith shortly before his death and he died on 21 September 1662 and was buried in an unconsecrated burial site in Putte. Adriaen van Stalbemt was a versatile artist who was active as a painter as well as a printmaker and he was mainly known for his landscapes which typically included religious, mythological and allegorical scenes. Only a small number of his works is dated which makes it difficult to establish a chronology, one of the reference works for attributions is the Feast of the Gods in the Gemäldegalerie Alte Meister in Dresden, which is signed and dated 1622. His style has been described as eclectic, as it shows the influences of various such as Jan Brueghel the Elder, Jan Brueghel the Younger, Hendrick van Balen, Paul Bril. His landscapes are also influenced by Gillis van Coninxloo, a work showing Jan Brueghel the Elders influence is the Landscape with Fables. This is reflected in van Stalbemts meticulous brush technique and the treatment of details. Alongside Abraham Govaerts, van Stalbemt is considered one of the best followers and imitators of Jan Brueghel the Elder. Various characteristics help distinguish his works from those of Breughel, to render foliage, other works are duller in colour and do not display the same meticulous brush technique
Adriaen Stalbemt
–
Adriaen van Stalbemt by
Anthony van Dyck.
Adriaen Stalbemt
–
Landscape with fables, 1620.
Adriaen Stalbemt
–
Landscape with mountain, 1600 - 1640,
Rijksmuseum
13.
Lucas Van Uden
–
Lucas van Uden was a leading Flemish landscape painter, draughtsman and engraver, who lived and worked in Antwerp. He was a landscape painter who collaborated with various local figure painters. His most original works are his drawings, Lucas van Uden was born in Antwerp as the son of Artus van Uden and Joanna Tranoy. His father was Antwerps city painter, a position required him to paint the Citys buildings and refurbish and gild the statues of the city. Lucas had a brother Jacob who also became a landscape painter, Lucas likely studied with his father as he was never registered with the Guild of Saint Luke as a pupil. He registered only as a master at the Guild in the capacity of a wijnmeester in 1626–27 when he was already 32 years old, Lucas had an extramarital relationship with Agatha Musson. She gave birth on 24 October 1620 to a son who was named Lucas, on 14 February 1627 Lucas van Uden married Anna van Woelput with whom he had 8 children, two of whom were born before the couple had married. Lucas had another child with Willemijntje van den Brande in 1630. He was active in Antwerp for most of his life except for a period around 1649 when he was recorded as no longer living in the city and he was very successful and could live very comfortably in central Antwerp. He was the teacher of Jan Baptist Bonnecroy, Philips Augustijn Immenraet and he likely also trained his children. His daughter Maria van Uden became a painter and married the painter Charles Emmanuel Biset and his son Adriaen was also active in Antwerp as a painter. He died in Antwerp in 1672, Lucas van Uden was principally a landscape painter. Some of his landscapes were winter landscapes such as the Winter Landscape with Hunters, although he was never part of Peter Paul Rubens studio, his works are partly indebted to that leading Antwerp master. The contrast between areas with dark and cold colours with warm colours in his work also calls to mind the work of Jan Brueghel the Elder, general characteristics of is work are a tonally-green recessive view punctuated by slender trees and populated by incidental pastoral and peasant figures. While his landscape paintings are rather schematic, his drawings which were made directly from nature are more spontaneous and realistic. Van Uden is known to have collaborated with David Teniers the Younger, an example is the Villagers having a meal, a collaboration with David Teniers the Younger. Van Uden is often associated with landscape painter Jan Wildens who frequently collaborated with Rubens. However, unlike for Wildens, there is no evidence van Uden ever painted the landscapes for Rubens, Rubens also never added the staffage to van Udens landscapes
Lucas Van Uden
–
Extensive Landscape
Lucas Van Uden
–
Winter Landscape with Hunters
14.
David Teniers the Younger
–
David Teniers the Younger was a Flemish artist born in Antwerp, the son of David Teniers the Elder. His son David Teniers III and his grandson David Teniers IV were also painters and his wife Anna, née Anna Breughel, was the daughter of Jan Brueghel the Elder and the granddaughter of Pieter Bruegel the Elder. Through his father, he was influenced by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to the outset of his career, the only trace of personal relations having existed between Teniers and Rubens is the fact that the ward of the latter, Anne Breughel, the daughter of Jan Breughel, married Teniers in 1637. Admitted as a master in the Guild of St Luke in 1632, the Berlin Museum possesses a group of ladies and gentlemen dated 1630. No special signature positively distinguishes these first productions from those of his father, Dr. Bode, in a study of Brouwer and his works, expresses the opinion that Tenierss earliest pictures are those found under the signature Tenier. Tenier is a Flemish version of a thoroughly Walloon name, Taisnier which the grandfather, a mercer, brought with him when he came from Ath in 1558. His touch is of the rarest delicacy, his colour at once gay and he was little over thirty when the Antwerp guild of St. George enabled him to paint the picture which ultimately found its way to the Hermitage in St. Petersburg the Meeting of the Civic Guards. Correct to the minutest detail, yet striking in effect, the scene, under the rays of sunshine, displays an astonishing amount of acquired knowledge. Teniers was chosen by the council of Antwerp to preside over the Guild of Saint Luke in 1644. The Archduke Leopold Wilhelm, who had assumed the government of the Spanish Netherlands employed Teniers as a painter, with the title of ayuda de camara, Teniers moved to Brussels shortly after 1647. Immense sums were spent buying paintings for the archduke, a number of valuable works of Italian masters, now in the Kunsthistorisches Museum, came from Leopold Wilhelms gallery after having belonged to Charles I and the Duke of Buckingham. De Bie states that Teniers visited London, collecting pictures for the Duke of Fuensaldana, then acting as Leopold Wilhelms lieutenant in the Netherlands. Still more interesting is a canvas, now in the Munich Gallery, when Leopold Wilhelm returned to Vienna, Teniers appointment ended. Teniers nevertheless remained in favor with the new governor-general, Don Juan of Austria. The prince was his pupil, and de Bie tells us he painted the likeness of the painters son, in a petition to the king he reminded him that the honour of knighthood had been bestowed upon Rubens and van Dyck. The king at last declared his readiness to grant the request, the condition was not complied with, but it may perhaps account for his interest in founding an academy in Antwerp strictly limited to painters and sculptors. Teniers died in Brussels on 25 April 1690, the date is often wrongly given as 1694 or 1695
David Teniers the Younger
–
David Teniers the Younger
David Teniers the Younger
–
David Teniers the Younger, Flemish Kermess, (1652) Oil on canvas, 157 x 221 cm,
Royal Museums of Fine Arts,
Brussels
David Teniers the Younger
–
The Alchemist,
Royal Museum of Fine Arts Antwerp
David Teniers the Younger
–
Teniers, David the younger - The Chaff-cutter
15.
Abraham Brueghel
–
Abraham Brueghel was a Flemish painter from the famous Brueghel family of artists. He emigrated at an age to Italy where he played an important role in the development of the style of decorative Baroque still lifes. Abraham was born in Antwerp, the son of Jan Brueghel the Younger, the grandson of Jan Brueghel the Elder, much of his artistic training came from his father Jan Brueghel the Younger, prolific painter and regular collaborator with Rubens. Abraham showed great promise as an artist from an early age and his father sold one of Abrahams floral still lives when he was only 15 years old. In 1649, at the age of 18, Abraham went to Italy to complete a commission for Prince Antonio Ruffo in Sicily and it was the first of many commissions in which Abraham demonstrated his artistic abilities in drawing floral still lifes. Already in 1649 an inventory of his patron Prince Antonio Ruffo records nine flower paintings by the 18-year-old artist, ten years later, in 1659, Brueghel moved to Rome, Italy where he married an Italian woman less than a year later. In 1670 he was invited into the Accademia di San Luca, a Roman academy, Abraham joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname and he was given the bent name Rijngraaf, meaning duke of the Rhine, which was an old aristocratic title in Germany. When Abraham Genoels joined the Bentvueghels in 1670, Abraham Brueghel signed the bentbrief as Abraham Breugel, some time between 1672 and 1675, Abraham left Rome and moved to Naples, Italy. He played an important role in the development of still life painting in Naples, breughel remained in Naples until his death. He is believed to have died c.1690 in Naples, Abraham Brueghel established a reputation for his still lifes and in particular, floral still lives. One hunting still life signed and dated by him is known, due to lack of evolution during the artist’s mature period and the scarcity of dated works, it is difficult to establish a chronology of Abraham’s artistic development. His brushstrokes were generally slightly more painterly during his Roman period, the increasingly lush still lifes of the Flemish painters Frans Snyders, Jan Fyt and Pieter Boel who had also worked in Italy were the principal influences on Abraham Brueghel. Joannes Hermans, another Flemish painter in Rome also painted still lifes combining human figures, flowers and fruit. The result of the influences were compositions that appear casual, while maintaining strong composition. Abraham Brueghel is especially known for his still life paintings of southern fruits and flowers and they are frequently enhanced by a precious vase, an antique monument or fragments of Roman sculpture. His cartouches are heavier and more decorative and he painted his own landscapes but the staffage in his paintings was painted by well-known Italian painters, such as Carlo Maratta, Giovanni Battista Gaulli and Giacinto Brandi. A few collaborations between Abraham Brueghel and Guillaume Courtois, a French painter active in Rome, are recorded, an example is the Still life of fruits and flowers with a figure
Abraham Brueghel
–
Woman grasping fruits
Abraham Brueghel
–
Bouquet of flowers in a vase in bronze
Abraham Brueghel
–
A still life of fruit and flowers on an acanthus stone relief
Abraham Brueghel
–
Still life of fruits and flowers with a figure
16.
Jan Pieter Brueghel
–
Jan Pieter Brueghel or Jan Pieter Breughel was a Flemish Baroque painter specialised in flower still lifes. He was the son of Jan Brueghel the Younger and Anna-Maria Janssens and he joined the Antwerp Guild of St. Luke in 1645 as wijnmeester. He died in Italy, after 1664, and is known for still lifes. He created many paintings on which he collaborated with other painters such as Erasmus Quellinus II who painted the cartouches while Brueghel painted the flower garlands. Notes Bibliography Jan Pieter Brueghel on Artnet Media related to Jan Pieter Breughel at Wikimedia Commons
Jan Pieter Brueghel
–
Cartouche with a personification of America, surrounded by flowers
17.
Jan van Kessel, senior
–
Jan van Kessel the Elder or Jan van Kessel was a Flemish painter active in Antwerp in the mid 17the century. Jan van Kessel the Elder was born in Antwerp as the son of Hieronymus van Kessel the Younger and he was thus Jan Brueghel the Elders grandson, Pieter Bruegel the Elders great-grandson and the nephew of Jan Brueghel the Younger). His direct ancestors in the van Kessel family line were his grandfather Hieronymus van Kessel the Elder and his father Hieronymus van Kessel the Younger, very little is known about the work of these van Kessel ancestors. At the age of only 9, Jan van Kessel was sent to study with the history painter Simon de Vos and he further trained with family members who were artists. He was a pupil of his father and his uncle Jan Brueghel the Younger, in 1644 he became a member of the Antwerp Guild of Saint Luke where he was recorded as a blomschilder. He married Maria van Apshoven on 11 June 1646, the couple had 13 children of whom two, Jan and Ferdinand, were trained by him and became successful painters. He was captain of a local schutterij in Antwerp, Jan van Kessel was financially successful as his works commanded high prices. He bought in 1656 a house called the Witte en Roode Roos in central Antwerp, by the time his wife died in 1678 his fortune seems to have turned for the worse. In 1679 he had to mortgage his house and he had become too ill to paint and died on 17 April 1679 in Antwerp. He trained other painters and also his own family members and his pupils included his sons Jan and Ferdinand. Jan van Kessel the Elders dated works range from 1648 to 1676, attribution of work to Jan van Kessel the Elder has been difficult due to confusion with other artists with a similar name all active around the same time. In addition to his son Jan, there was another Antwerp painter with the name Jan van Kessel who painted still lifes, another problem for attributions has been the fact that Jan van Kessel the Elder used two different styles of signature on his work. He used a cursive, more decorative signature for larger formats and this practice lead to the erroneous assumption that these works were made by two different painters. Obsessed with picturesque detail, van Kessel worked from nature and used illustrated scientific texts as sources for filling his pictures with objects represented with almost scientific accuracy. Jan van Kessel produced a number of studies of animals such as insects, caterpillars and reptiles as well as images of flowers. He showed himself to be an observer and his animal studies were praised in his day for their meticulousness. His work in this field reflects the worldview in which the appreciation of art. An important influence on his studies was the scientific naturalism of the Flemish artist Joris Hoefnagel known primarily for his illuminated manuscripts
Jan van Kessel, senior
–
Insects and garden
pansy, 1679
Jan van Kessel, senior
–
Jan van Kessel in
Cornelis de Bie 's
Het Gulden Cabinet.
Jan van Kessel, senior
–
Still Life with fish
Jan van Kessel, senior
–
Autograph, made by insects and caterpillars
18.
Pieter Bruegel the Elder
–
He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister
Pieter Bruegel the Elder
–
The Painter and The Connoisseur, c. 1565 is thought to be Bruegel's
self-portrait.
Pieter Bruegel the Elder
–
The Seven Deadly Sins or the Seven Vices - Anger, 1558
Pieter Bruegel the Elder
–
The Peasant Wedding, 1566–69, oil on panel
Pieter Bruegel the Elder
–
The Blind Leading the Blind, 1568
19.
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
Pieter Brueghel the Younger
–
Anthony van Dyck: Portrait of Pieter Brueghel the Younger
Pieter Brueghel the Younger
–
The Village Lawyer or The Tax Collector's Office
Pieter Brueghel the Younger
–
Whitsun Bride
20.
Jan van Kessel the Elder
–
Jan van Kessel the Elder or Jan van Kessel was a Flemish painter active in Antwerp in the mid 17the century. Jan van Kessel the Elder was born in Antwerp as the son of Hieronymus van Kessel the Younger and he was thus Jan Brueghel the Elders grandson, Pieter Bruegel the Elders great-grandson and the nephew of Jan Brueghel the Younger). His direct ancestors in the van Kessel family line were his grandfather Hieronymus van Kessel the Elder and his father Hieronymus van Kessel the Younger, very little is known about the work of these van Kessel ancestors. At the age of only 9, Jan van Kessel was sent to study with the history painter Simon de Vos and he further trained with family members who were artists. He was a pupil of his father and his uncle Jan Brueghel the Younger, in 1644 he became a member of the Antwerp Guild of Saint Luke where he was recorded as a blomschilder. He married Maria van Apshoven on 11 June 1646, the couple had 13 children of whom two, Jan and Ferdinand, were trained by him and became successful painters. He was captain of a local schutterij in Antwerp, Jan van Kessel was financially successful as his works commanded high prices. He bought in 1656 a house called the Witte en Roode Roos in central Antwerp, by the time his wife died in 1678 his fortune seems to have turned for the worse. In 1679 he had to mortgage his house and he had become too ill to paint and died on 17 April 1679 in Antwerp. He trained other painters and also his own family members and his pupils included his sons Jan and Ferdinand. Jan van Kessel the Elders dated works range from 1648 to 1676, attribution of work to Jan van Kessel the Elder has been difficult due to confusion with other artists with a similar name all active around the same time. In addition to his son Jan, there was another Antwerp painter with the name Jan van Kessel who painted still lifes, another problem for attributions has been the fact that Jan van Kessel the Elder used two different styles of signature on his work. He used a cursive, more decorative signature for larger formats and this practice lead to the erroneous assumption that these works were made by two different painters. Obsessed with picturesque detail, van Kessel worked from nature and used illustrated scientific texts as sources for filling his pictures with objects represented with almost scientific accuracy. Jan van Kessel produced a number of studies of animals such as insects, caterpillars and reptiles as well as images of flowers. He showed himself to be an observer and his animal studies were praised in his day for their meticulousness. His work in this field reflects the worldview in which the appreciation of art. An important influence on his studies was the scientific naturalism of the Flemish artist Joris Hoefnagel known primarily for his illuminated manuscripts
Jan van Kessel the Elder
–
Insects and garden
pansy, 1679
Jan van Kessel the Elder
–
Jan van Kessel in
Cornelis de Bie 's
Het Gulden Cabinet.
Jan van Kessel the Elder
–
Still Life with fish
Jan van Kessel the Elder
–
Autograph, made by insects and caterpillars
21.
RKD
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
RKD
–
As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
22.
Encyclopedia Americana
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Encyclopedia Americana is one of the largest general encyclopedias in the English language. Following the acquisition of Grolier in 2000, the encyclopedia has been produced by Scholastic, the encyclopedia has more than 45,000 articles, most of them more than 500 words and many running to considerable length. The works coverage of American and Canadian geography and history has been a traditional strength, most articles are signed by their contributors. Long available as a 30-volume print set, the Encyclopedia Americana is now marketed as an online encyclopedia requiring a subscription, in March 2008, Scholastic said that print sales remained good but that the company was still deciding on the future of the print edition. The company did not produce an edition in 2007, a change from its previous approach of releasing a revised print edition each year, the most recent print edition of the Encyclopedia Americana was published in 2006. The online version of the Encyclopedia Americana, first introduced in 1997, continues to be updated and this work, like the print set from which it is derived, is designed for high school and first-year college students along with public library users. Grolier Online is not available to individual subscribers, francis Lieber, a German political exile, who came to Boston, Massachusetts in 1827, began publication of Encyclopedia Americana in 1829. The 13 volumes of the first edition were completed in 1833, just before the beginning of the 20th century Richard S. Some of the old material was carried over into the new encyclopedia, the short article method of Brockhaus was continued. Thus in 1902 a new version in 16 volumes that carried some of the old material was published. The magazines editor, Frederick Converse Beach, was editor-in-chief, and was said to be assisted by hundreds of eminent scholars, the relationship with Scientific American was terminated in 1911. From 1907 to 1912, the work was published as The Americana, a major new edition appeared in 1918–20 in 30 volumes, with George Edwin Rines as editor-in-chief. An Annual or Yearbook was also published each year beginning in 1923, the encyclopedia was purchased by Grolier in 1945. Sales during this period were accomplished primarily through mail-order and door-to-door operations, telemarketing and third-party distribution through their Lexicon division added to sales volumes in the 1970s. By the late 1970s, Grolier had moved its operations to Danbury, in 1988 Grolier was purchased by the French media company Hachette, which owned a well-known French-language encyclopedia, the Hachette Encyclopedia. Hachette was later absorbed by the French conglomerate the Lagardère Group, a CD-ROM version of the encyclopedia was published in 1995. Although the text and images were stored on separate disks, it was in keeping with current at the time. More importantly, the work had been digitized, allowing for release of a version in 1997
Encyclopedia Americana
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Encyclopedia Americana at
Göttingen State and University Library.
Encyclopedia Americana
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This 1921 advertisement for the Encyclopedia Americana suggests that other encyclopedias are as out-of-date as the locomotives of 90 years earlier.
23.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
24.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
25.
Biografisch Portaal
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The Biografisch Portaal is an initiative based at the Huygens Institute for Dutch History in The Hague, with the aim of making biographical texts of the Netherlands more accessible. As of 2011, only information about deceased people is included. The system used is based on the standards of the Text Encoding Initiative, access to the Biografisch Portaal is available free through a web-based interface. The project is an undertaking by ten scientific and cultural bodies in the Netherlands with the Huygens Institute as main contact. In February 2012, a new project was started called BiographyNed to build a tool for use with the Biografisch Portaal that will link biographies to events in time. The main goal of the project is to formulate ‘the boundaries of the Netherlands’. List of Dutch people Official website
Biografisch Portaal
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The Huygens Institute is housed in the same building as the
RKD, the National Archives, the Nederlands Letterkundig Museum (LM), the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
26.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
27.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
"Bruegel". Encyclopedia Americana. 1920.
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