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Works and literature on PubHist |
biography |
Cornelis Engebrechtsz., also known as Cornelis Engelbrechtsz. (c.1462–1527) was an early Dutch painter. He was born and died in Leiden, and is considered the first important painter from that city. Engebrechtsz. taught a number of other Leiden painters, including Lucas van Leyden, Aertgen van Leyden and Engebrechtsz.' ... |
Work by Engebrechtsz. is in the collection of the Rijksmuseum Amsterdam, the Kunsthistorisches Museum in Vienna, the J. Paul Getty Museum in Los Angeles, the Alte Pinakothek in Munich and the Metropolitan Museum of Art in New York, among others. |
Career |
Engebrechtsz. was the first painter in Leiden to whom work can be attributed with certainty. The first mention of Engebrechtsz. in the archives was in 1482, when he sold some work to the Hieronymusdal priory (also known as Lopsen) in Oegstgeest, near Leiden. He may have been trained as a painter in this monastery as we... |
He painted primarily Biblical themes, like a triptych of the Lamentation of Christ and a triptych of the Crucifixion. Both were made for the Mariënpoel convent in Leiden and are now in Leiden's city museum, Stedelijk Museum De Lakenhal. He also received commissions from the Leiden city government. Engebrechtsz. had a l... |
Life |
Engebrechtsz. was born sometime between 1460 and 1465. He probably lived in Leiden uninterrupted from about 1497 until his death. Engebrechtsz. was a member of the local archer schutterij (militia) from 1499 tot 1506 and the crossbow militia from 1515 to 1522. Around 1520 he served as captain of the crossbow militia. |
Engebrechtsz. married Elysbeth Pietersdr. in of around 1487. They had six children, including three sons, all of whom followed in their father's footsteps and became painters. Engebrechtsz. died somewhere between 11 February and 26 August 1527. There was some quarreling over his inheritance after his death, indicating ... |
See also |
Dutch and Flemish Renaissance painting |
Explanatory notes |
References |
Further reading |
Jeremy Dupertuis Bangs, Cornelis Engebrechtsz., a documentary study of the man and his artistic environment, Gemeentelijke Archiefdienst (Leiden), 1975 |
Jeremy Dupertuis Bangs, Cornelis Engebrechtsz's Leiden: Studies in Cultural History, Van Gorcum, Assen, 1979 |
Franz Dülberg, Die Leydener Malerschule, G. Schade (Berlijn), 1899 |
Émile Gavelle, Cornelis Engebrechtsz: L'école de peinture de Leyde et le romantisme Hollandais au début de la Renaissance, Raoust, Lille, 1929 |
Walter S. Gibson, The paintings of Cornelis Engebrechtsz, Garland, New York, 1977 |
External links |
Media related to Cornelis Engebrechtsz. at Wikimedia Commons |
Cornelis Engebrechtsz. at the Netherlands Institute for Art History |
Artcyclopedia: Cornelis Engebrechtsz. |
"Engelbrechtzen, Cornelis" . Encyclopedia Americana. 1920. |
"Engelbrechtsen, Cornelis" . New International Encyclopedia. 1905. |
Cornelis Jacobsz. Delff (1570–1643) was a Dutch Golden Age still life painter. |
Biography |
Delff was born in Gouda. According to Houbraken he was first a pupil of his father Jacob Delff, and then of Cornelis van Haarlem. He was the brother of the painter Willem Jacobsz Delff and a good painter of still lifes. |
According to the RKD he became a member of the Delft Guild of St. Luke in 1613, and his kitchen still life paintings were followed by Sir Nathaniel Bacon (1585-1627), Gillis Gillisz. de Bergh, and Jan Willemsz. van der Wilde. He died in Delft. |
References |
Cornelis Jacobsz. Delff on Artnet |
External links |
Vermeer and The Delft School, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Cornelis Jacobsz Delff |
Cornelis Norbertus Gijsbrechts or Gysbrechts (1625/1629 – after 1675) was a Flemish painter who was active in the Spanish Netherlands, Germany, Denmark and Sweden in the second half of the seventeenth century. He was a court painter to the Danish royal family. He specialised in trompe-l'œil still lifes, an artistic gen... |
Life |
Details about the life of Gijsbrechts are scarce. It is not known with certainty where and when he was born. His activities in the final years of his life are also undocumented. His name is not mentioned in the contemporary art historical literature. It is assumed that he was born sometime between 1625 and 1629 in Ant... |
On 16 November 1659, Gijsbrechts joined the Sodaliteit van de bejaerde jongmans ('Sodality of Elderly Bachelors'), a fraternity for bachelors established by the Jesuit order. Between 18 September 1659 and 18 September 1660 he was registered as a 'wijnmeester' (i. i.e. son of a master) in the Guild of St Luke in Antwerp... |
His earliest known painting, the Vanitas still life with a young Moor presenting a pocket watch (at Ader Paris on 9 April 1990, lot 61) is dated 1657. In the early 1660s he was probably in Germany where he spent time, among other places, in Regensburg. Some art historians believe that he may have been in Emperor Leopol... |
His most prolific period as a painter falls in the short period of his stay at the court of the Danish kings Frederick III from 1668 to 1670, and thereafter Christian V from 1670 to 1672. The bulk of his known artistic output was created during this period. In the period from 1670 to 1672 he received payment for severa... |
After leaving Copenhagen, he is believed to have been in Stockholm, where in 1673 he painted a large letter rack commissioned by the bourgeoisie of the town. He likely also worked for the Swedish king. |
In 1675 he is recorded in Breslau (Wrocław). From this year dates his last known work. No firm records of him after this time exist. Possibly he resided in Bruges in Flanders after this time. A painting with the inscription 'A monsieur/ Monsieur Gijsbrechts/ schilder geghenwoordig/ tot Brughe', auctioned on 14 December... |
It is not known when or where he died. |
Work |
General |
Approximately 70 works by Gijsbrechts are known. Gijsbrechts was a painter of still lifes. He almost exclusively painted trompe-l'œil and vanitas paintings which were popular around the second half of the 17th century. Early in his career he produced pure vanitas paintings later switching to trompe l'oeil paintings fro... |
Of the 22 trompe l'oeil paintings he painted during his stay in Copenhagen, 19 are in the collection of the Statens Museum for Kunst in Copenhagen, two at Rosenborg Castle and one at the Museum of National History in Frederiksborg Castle. Some of the objects which he depicted with such precision in his still lifes can ... |
As his son Franciscus painted the same subjects in a style close to that of his father, it has sometimes been difficult to establish the authorship of certain works. Some attributions are disputed. It is generally believed that the father's style is more Baroque and his brushwork softer and more fluid than that of his ... |
Vanitas |
His earliest known painting is the Vanitas still life with a young Moor presenting a pocket watch (at Ader (Paris) 9 April 1990, lot 61) which is dated 1657. This painting falls within the genre of the vanitas still life, which Gijsbrechts practised principally until the later 1660s. This genre of still life offers a r... |
This worldview is conveyed in these still lifes through the use of stock symbols that refer to the transience of things and, in particular, the futility of earthly wealth: a skull, soap bubbles, candles, empty glasses, wilting flowers, insects, smoke, clocks, mirrors, books, hourglasses and musical instruments, various... |
In Trompe l'oeil with studio wall and vanitas still life (1668, Statens Museum for Kunst) Gijsbrechts presents a virtual inventory of seventeenth-century symbols of transience: the skull with the ears of corn, the hourglass, the extinguished candle, the soap bubble and artist paraphernalia. It contains two miniature po... |
Trompe l'oeil |
In the 1660s, Gijsbrechts abandoned the pure vanitas still life paintings by integrating the vanitas motifs into increasingly complex trompe l'oeil compositions, which depict studio walls, letter racks (the notice boards of the era), board walls with hunting implements and musical instruments and "chantournés" (cut-out... |
Gijsbrechts often used the illusionistic device of a curtain to partially cover the principal object depicted in the painting. Gijsbrechts is alluding thus to the common 17th-century practice of protecting precious paintings behind a curtain. Gijsbrecht pushed the limits of the trompe-l'œil painting to its limits with ... |
His painting The Reverse of a Framed Painting (1670, Statens Museum for Kunst) is one of his most original contributions to the trompe-l'œil genre. It is a deceptively sculptural representation of the back of a canvas frame with the small nails fixing the canvas in the frame and a small slip of paper with an inventory ... |
Another original trompe-l'œil is the Cabinet of curiosities with an ivory tankard (1670, Statens Museum for Kunst). This painting was in reality a cabinet door which was probably created to fit into a panel or wall in the Green Cabinet at Rosenborg Castle. The Green Cabinet held Frederik III's rich collection of art ob... |
In a pair of paintings in the Statens Museum for Kunst, Gijsbrecht demonstrated his inventiveness by combining in a novel way his trompe l'oeil techniques with the vanitas subjects for which he was known. The first one called the Trompe l'Oeil with trumpet, celestial globe and proclamation by Frederik III and dated 167... |
The accompanying painting referred to as A cabinet in the artist's studio shows the painter's studio. A large tablecloth, known to have belonged to Frederik III, hangs over some of the painter's tools - a bundle of brushes, his palette knife, his painting stick and his Dutch pipe. On the left, three pictures in the pai... |
References |
External links |
Media related to Cornelis Norbertus Gijsbrechts at Wikimedia Commons |
Cornelis Troost (8 October 1696 – 7 March 1750) was an 18th-century actor and painter from Amsterdam. |
Troost was trained as an actor and married the actress Susanna Maria van der Duyn, but became a pupil of Arnold Boonen and gave up his career for painting in 1723. |
He is primarily remembered for his works depicting scenes from the Amsterdam Theatre (he also made theatre decorations for plays) and daily life of the upper crust in Amsterdam. |
One of his earliest drawings dated 1708, is of Prince Eugene of Savoy and the bookseller and spy Louis Renard visiting a chic Amsterdam brothel. Then he had an early success with a lively group portrait depicting the Amsterdam Inspectors of the Collegium Medicum (Rijksmuseum, Amsterdam, 1724). Troost painted portraits,... |
His 1736 painting Jeronimus Tonneman and his Son shows the art collector seated in his parlour. He lived on the Keizersgracht, and collected Troost's paintings. It is assumed the book on the table is by Karel van Mander and on the chimney breast Argus and Mercury can be seen. Troost himself lived nearby on the banks of... |
A famous work, in his favorite medium of pastel and watercolor, is a five picture series entitled NELRI (Mauritshuis, The Hague, 1740). The name is derived from the first letters of the Latin inscriptions which accompany five views of the activities of a group of men during a night of reunion. The inscriptions on the N... |
Nemo loquebantur (No one spoke) |
Erat sermo inter fratres (The brothers conversed) |
Loquebantur omnes (Everyone spoke) |
Rumor erat in casa (There was commotion in the house) |
Ibant qui poterant, qui non potuere cadebant (Those who could, went. Those who could not, fell over) |
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