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Workshop, unfinished or lost works
Members of his workshop completed works based on his designs in the years after his death in the summer of 1441. This was not unusual; the widow of a master would often carry on the business after his death. It is thought that either his wife Margaret or brother Lambert took over after 1441. Such works include the Ince Hall Madonna, Saint Jerome in His Study, a Madonna of Jan Vos (Virgin and Child with St Barbara and Elizabeth) c. 1443, and others. A number of designs were reproduced by second-generation Netherlandish artists of the first rank, including Petrus Christus, who painted a version of the Exeter Madonna.
Members of his workshop also finished incomplete paintings after his death. The upper portions of the right hand panel of the Crucifixion and Last Judgement diptych are generally considered the work of a weaker painter with a less individual style. It is thought that van Eyck died leaving the panel unfinished but with completed underdrawings, and the upper area was finished by workshop members or followers.
There are three works confidently attributed to him but known only from copies. Portrait of Isabella of Portugal dates to his 1428 visit to Portugal for Philip to draw up a preliminary marriage agreement with the daughter of John I of Portugal. From surviving copies, it can be deduced that there were two other "painted-on" frames apart from the actual oak frame, one of which was lettered with gothic inscription to the top, while a faux stone parapet provided support for her hands to rest upon.
Two extant copies of his Woman Bathing were made in the 60 years after his death, but it is known mostly through its appearance in Willem van Haecht's expansive 1628 painting The Gallery of Cornelis van der Geest, a view of a collector's gallery containing many other identifiable old masters. Woman Bathing bears many similarities to the Arnolfini Portrait, including an interior with a bed and a small dog, a mirror and its reflection, a chest of drawers and clogs on the floor; more broadly similar are the attendant woman's dress, the outline of her figure, and the angle from which she faces.
Reputation and legacy
In the earliest significant source on van Eyck, a 1454 biography in Genoese humanist Bartolomeo Facio's De viris illustribus, Jan van Eyck is named "the leading painter" of his day. Facio places him among the best artists of the early 15th century, along with Rogier van der Weyden, Gentile da Fabriano, and Pisanello. It is particularly interesting that Facio shows as much enthusiasm for Netherlandish painters as he does for Italian painters. This text sheds light on aspects of Jan van Eyck's production now lost, citing a bathing scene owned by a prominent Italian, but mistakenly attributing to van Eyck a world map painted by another.
Jan van Eyckplein in Bruges is named for him.
Notes
References
Citations
Sources
External links
Media related to Jan van Eyck at Wikimedia Commons
Jan van Eyck's travel from Flanders to Granada (1428–1429)
Jan van Eyck Gallery at MuseumSyndicate
Closer to Van Eyck (The Ghent Altarpiece in 100 billion pixels)
Jan Van Eyck in BALaT – Belgian Art Links and Tools (KIK-IRPA, Brussels)
Crowe, Joseph Archer (1911). "Eyck, Van" . Encyclopædia Britannica. Vol. 10 (11th ed.). pp. 90–91.
Petrus Christus: Renaissance master of Bruges, a full text exhibition catalog from The Metropolitan Museum of Art, containing lengthy discussions of Jan van Eyck
The Renaissance in the North, a full text exhibition catalog from The Metropolitan Museum of Art, with lengthy discussions of van Eyck
Christopher D. M. Atkins, “Saint Francis of Assisi Receiving the Stigmata by Jan van Eyck (cat. 314),” in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication
Bass, Marisa Anne, "Worldly van Eyck: Was the Netherlandish master a painter of visionary experience or of life here on earth?". The New York Review of Books, August 14, 2024.
A New Look at Jan Van Eyck: The Madonna of Chancellor Rolin, Exhibition at Louvre, 20 March – 17 June 2024.
Jan Josephszoon van Goyen (Dutch pronunciation: [ˈjɑɱ vɑŋ ˈɣoːi.ə(n)]; 13 January 1596 – 27 April 1656) was a Dutch landscape painter. The scope of his landscape subjects was very broad as he painted forest landscapes, marine paintings, river landscapes, beach scenes, winter landscapes, cityscapes, architectural views and landscapes with peasants. The list of painters he influenced is much longer. He was an extremely prolific artist who left approximately twelve hundred paintings and more than one thousand drawings.
Biography
Jan van Goyen was the son of a shoemaker and started as an apprentice in Leiden, the town of his birth. Like many Dutch painters of his time, he studied art in the town of Haarlem with Esaias van de Velde. At age 35, he established a permanent studio at The Hague (Den Haag). Crenshaw tells (and mentions the sources) that van Goyen's landscape paintings rarely fetched high prices, but he made up for the modest value of individual pieces by increasing his production, painting thinly and quickly with a limited palette of inexpensive pigments. Despite his market innovations, he always sought more income, not only through related work as an art dealer and auctioneer but also by speculating in tulips (he was the last known victim of the tulip mania of the 1630s) and real estate. Although the latter was usually a safe avenue of investing money, in van Goyen's experience it led to enormous debts. Paulus Potter rented one of his houses. Though he seems to have kept a workshop, his only registered pupils were Nicolaes van Berchem, Jan Steen, and Adriaen van der Kabel. The list of painters he influenced is much longer.
In 1652 and 1654, he was forced to sell his collection of paintings and graphic art, and he subsequently moved to a smaller house. He died in 1656 in The Hague, still unbelievably 18,000 guilders in debt, forcing his widow to sell their remaining furniture and paintings. Van Goyen's troubles also may have affected the early business prospects of his student and son-in-law Jan Steen, who left The Hague in 1654.
Dutch painting
Typically, a Dutch painter of the 17th century will fall into one of four categories: a painter of portraits, landscapes, still-lifes, or genre painting. Dutch painting was highly specialized and rarely could an artist hope to achieve greatness in more than one area in a lifetime of painting. Jan van Goyen would be classified primarily as a landscape artist with an eye for the genre subjects of everyday life. He painted many of the canals in and around The Hague as well as the villages surrounding the countryside of Delft, Rotterdam, Leiden, and Gouda. Other popular Dutch landscape painters of the sixteenth and seventeenth century were
Jacob van Ruisdael, Aelbert Cuyp, Hendrick Avercamp, Ludolf Backhuysen, Meindert Hobbema, Aert van der Neer.
Van Goyen's technique
Jan van Goyen would begin a painting using a support primarily of thin oak wood. To this panel, he would scrub on several layers of a thin animal hide glue. With a blade, he would then scrape over the entire surface a thin layer of tinted white lead to act as a ground and to fill the low areas of the panel. The ground was tinted light brown, sometimes reddish, or ochre in colour.
Next, van Goyen would loosely and very rapidly sketch out the scene to be painted with pen and ink without going into the small details of his subject. This walnut ink drawing can be clearly seen in some of the thinly painted areas of his work. For a guide, he would have turned to a detailed drawing. The scene would have been drawn from life outdoors and then kept in the studio as reference material. Drawings by artists of the time were rarely works of art in their own right as they are viewed today.
On his palette he would grind out a colour collection of neutral grays, umbers, ochre and earthen greens that looked like they were pulled from the very soil he painted. A varnish oil medium was used as vehicle to grind his powdered pigments into paint and then used to help apply thin layers of paint which he could easily blend.
The dark areas of the painting were kept very thin and transparent with generous amounts of the oil medium. The light striking the painting in these sections would be lost and absorbed into the painting ground. The lighter areas of the picture were treated heavier and opaque with a generous amount of white lead mixed into the paint. Light falling on the painting in a light section is reflected back at the viewer. The effect is a startling realism and three-dimensional quality. The surface of a finished painting resembles a fluid supple mousse, masterfully whipped and modeled with the brush.
According to the art historian H. U. Beck, "In his freely composed seascapes of the 1650s he reached the apex of his creative work, producing paintings of striking perfection."
Some of Van Goyen's Works can be seen at the Thyssen Bornemisza Museum in Madrid, one from the public collection (Winter landscape with figures on ice, 1643) and others from the Carmen Thyssen Collection also shown there (River Landscape with Ferry boat and Cottages, 1634).
Legacy
Jan van Goyen was famously influential on the landscape painters of his century. His tonal quality was a feature that many imitated. According to the Netherlands Institute for Art History, he influenced Cornelis de Bie, Jan Coelenbier, Cornelis van Noorde, Abraham Susenier, Herman Saftleven, Pieter Jansz van Asch, and Abraham van Beijeren.
Van Goyen is mentioned by his fellow countryman Vincent van Gogh in Vincent's second letter from the asylum: "Through the iron-barred window I can make out a square of wheat in an enclosure, a perspective in the manner of Van Goyen, above which in the morning I see the sun rise in its glory."
Gallery
Sources
External links
69 artworks by or after Jan van Goyen at the Art UK site
View of Dordrecht 1644
Vermeer and The Delft School, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which has material on Jan van Goyen
Five artworks by Jan van Goyen, at the online collection of Museum Boijmans Van Beuningen.
Dutch and Flemish paintings from the Hermitage, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Jan van Goyen (cat. no. 10)
"Jan Josephszoon van Goyen" . Encyclopædia Britannica. Vol. XI (9th ed.). 1880. p. 23.
Jan Victors or Fictor (bapt. June 13, 1619 – December 1679) was a Dutch Golden Age painter mainly of history paintings of Biblical scenes, with some genre scenes. He may have been a pupil of Rembrandt. He probably died in the Dutch East Indies.
He was a conscientious member of the Calvinist Dutch Reformed Church, and for this reason he avoided creating art which depicts Christ, angels, or nudity.
Biography
Victors was born in Amsterdam. He was described in a Haarlem tax listing in 1622 as a student of Rembrandt van Rijn. Though it is not certain that he worked for Rembrandt, it is clear from his Young girl at a window that he had looked carefully at Rembrandt's paintings. He was only twenty when he painted this scene, and the look of expectation on the girl's face shows a remarkable study of character. He seems to have abandoned painting well before the rampjaar of 1672, when, like many painters in Amsterdam, he fell onto bad times and took a position as ziekentrooster (lit. 'comforter of the sick'), a role as professional nurse and cleric, with the Dutch East India Company in 1676. He probably died soon after arrival in Indonesia, then the Dutch East Indies.
References
External links
Ruth and Naomi of 1653: an unpublished painting by Jan Victors
Works and literature at PubHist
Link about Victors
Getty biography of Victors
Esther Accusing Haman by Jan Victors from the Museum & Gallery collection in Greenville, SC
Jan Wildens (1586 in Antwerp – 16 October 1653 in Antwerp) was a Flemish painter and draughtsman specializing in landscapes. His Realist landscapes show an eye for detail and have a serene character. He was a regular collaborator with Rubens and other leading Flemish Baroque painters of his generation in whose compositions he painted the landscapes.
Life
Jan Wildens was born in Antwerp as the son of Hendrick Wildens and Magdalena van Vosbergen. His father died when he was still young. His mother remarried to Cornelis Cock, who later became the father in law of the Antwerp portrait painter Cornelis de Vos. In 1596 Jan Wildens was registered at the Antwerp Guild of St. Luke as an apprentice of Pieter van der Hulst (I) (also known as 'Peter Verhulst' or 'Floris Verhulst'), (c. 1565 – c. 1628), a minor painter from Mechelen.
Wildens became a master of the Antwerp Guild of St. Luke in 1604. He set up his own workshop and took Abraham Leerse on as an apprentice in 1610. From this period date a series of 12 drawings of the months, which were engraved and published in print form. Wildens travelled in 1613 or 1614 to Italy where he stayed until 1616. Around 1615–1616 he created a series of 12 landscape paintings representing the 12 months of the year, roughly similar to his early drawings. These paintings show his increasing interest in Realism, which was likely a result of his exposure to the landscapes of his compatriot Paul Bril who worked in Rome.
Upon returning to Antwerp, he became a frequent collaborator and a close friend of Peter Paul Rubens. Wildens was responsible for the landscapes in the cartoons by Rubens for his tapestry series on Publius Decius Mus. The two artists continued to collaborate on many works. Wildens also became a frequent collaborator of other leading Antwerp painters. In 1619 Wildens married Maria Stappaert with Rubens acting as a witness at the wedding. Maria's niece Hélène Fourment later became Rubens' second wife. Maria Stappaert died in 1624 after bearing Wildens two sons, both of whom became painters: Jan Baptist (1620–1637) and Jeremias (1621–1653). Both of his sons died young.
Wildens became very prosperous thanks to his professional success. He worked for prominent patrons and participated, like many other Antwerp artists, on the decorations for the Joyous Entry into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand. Rubens was in overall charge of this project. Wildens contributed two city views of Antwerp for the occasion.
In the house he inherited from his mother in the Lange Nieuwstraat in Antwerp he opened a picture gallery with over 700 paintings. The gallery was very successful and was later operated by his son Jeremias. When Rubens died in 1640, Jan Wildens acted as a testamentary executor of his estate.
His pupils included his sons Jan Baptist and Jeremias and Hendrick van Balen the Younger.
Work
Jan Wildens was a landscape specialist. The compositions of his early landscapes before his visit to Italy were influenced by Flemish artists such as Jan Brueghel the Younger, Gillis van Coninxloo, Joos de Momper and Adriaan van Stalbemt. In this early period he produced a series of 12 drawings of the months, which were engraved and published by Hendrik Hondius, Jacob Matham and Andries Stock. As was not uncommon at the time the prints sharply contrast agricultural labors and courtly urban diversions.
In Italy Wildens discovered the landscape art of his compatriot Paul Bril with its realism and eye for detail. Upon his return to Antwerp, Wildens became a frequent collaborator with Rubens. He was responsible for the landscape backgrounds of various scenes in the designs of Rubens for the Decius Mus tapestry series and many history paintings by Rubens, including The Rape of the Daughters of Leucippus (c. 1618; Alte Pinakothek, Munich), Samson and the Lion (c. 1618; Private Collection), Cimon and Iphigenia (c. 1617–18; Kunsthistorisches Museum, Vienna) and Diana and her Nymphs Departing for the Chase (c. 1616; Cleveland Museum of Art).
Later in his career he painted landscapes for many other Antwerp painters such as Jacob Jordaens, Frans Francken the Younger, Frans Snyders, Paul de Vos, Abraham Janssens, Jan Boeckhorst, Gerard Seghers, Theodoor Rombouts and Cornelis Schut.
His work in the 1620s and 1630s employed decorative forms, loose compositions and a broad technique reminiscent of Rubens. Earlier influences on him such as Jan Brueghel the Younger and Paul Bril continued to play a significant role. Wildens' works show a preference for a calm and gentle approach expressed in marked symmetry of composition and soft, subtle colours. The contrast with Rubens is evident in Wildens' serene Landscape with Dancing Shepherds (Royal Museum of Fine Arts Antwerp), which was partly inspired by Rubens' more dynamic Landscape with a Shepherd and his Flock (National Gallery, London).
After 1640 he adopted the rather sketchy method and the vibrating, atmospheric light that Rubens used in his own later landscapes. Wildens also increased the dramatic element in his landscapes from that time.
Sources
External links
Media related to Jan Wildens at Wikimedia Commons
Jean-Baptiste Henri Durand-Brager (1814–1879) was a French painter, noted for his marine scenes and Orientalist works.