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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... |
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 ... |
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... |
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 s... |
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. I... |
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 ... |
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) th... |
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 ... |
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 cl... |
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 ... |
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 ha... |
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 eas... |
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 i... |
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 ... |
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, a... |
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 composit... |
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. L... |
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... |
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... |
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 pro... |
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 wer... |
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 an... |
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 s... |
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. |
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