The Netherlands 16th century
Pieter Aertsen, a Dutch painter born in 1508 in Amsterdam and known as ‘Lange Pier’ for his height, was a significant figure in the Northern Mannerism style. His artistic journey began with religious paintings, but he became renowned in the 1550s for his pioneering work in domestic scenes, where he vividly portrayed everyday objects like furniture, cooking utensils, and food.
Pieter Aertsen is credited with inventing the monumental genre scene, a novel concept in painting that combined still life and genre painting, often incorporating a biblical scene in the background. This style is exemplified in his work "Butcher's Shop" (1551), which is considered the earliest example of Mannerist inversion of still life in Northern painting. In this work, the everyday subject matter of a butcher's stall is given more prominence than the historical or religious scene depicted in the background.
Pieter Aertsen's work reflected the rich mercantile culture of Antwerp, where he lived for many years before returning to Amsterdam in 1556. His paintings often included a wide range of subjects, from market scenes to kitchen tableaux, filled with an abundance of fruits, vegetables, meats, and other food items. His unique approach to painting, which combined the teachings of classical art with the ideas of contemporary artists, made a lasting impact on the genre.
In addition to his genre scenes, Pieter Aertsen continued to create religious works throughout his life, although many were lost during the waves of iconoclasm that swept across northern Europe during the Protestant Reformation. A surviving religious work of his is the "Crucifixion" in the Royal Museum of Fine Arts Antwerp.
Pieter Aertsen's legacy continued through his pupils, including Stradanus and his nephews, Joachim Beuckelaer and Huybrecht Beuckeleer. His influence on the development of still life and genre painting was profound, and his works remain a fascinating study for collectors and experts in art and antiques.
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Cornelius Gerardi Aurelius, also called Goudanus, was a Dutch humanist scholar, writer, and historian.
Aurelius was a permanent canon (monk) of the Augustinian monastic order and is one of the first humanists of the Netherlands in the 16th century. He wrote poetry, historiography, hagiography, political and theological works. Aurelius also corresponded with many of the famous men of his day, especially Erasmus.
Hendrick Avercamp was a seminal Dutch painter during the Dutch Golden Age. He is celebrated as one of the earliest landscape painters of the 17th-century Dutch school, specializing in vibrant winter scenes of the Netherlands. His paintings are filled with colorful and lively depictions of people engaging in various activities against the backdrop of the Dutch winter landscape.
Educated by the Danish-born portrait painter Pieter Isaacsz, Hendrick Avercamp's work reflects a strong influence from the Flemish painting tradition, especially evident in the landscapes reminiscent of Pieter Bruegel the Elder. His technique of aerial perspective, where objects in the foreground are painted with richer colors than those in the distance, creates a remarkable impression of depth in his paintings.
Hendrick Avercamp's most ambitious and acclaimed work, 'Winter Landscape with Ice Skaters', painted around 1608, is a detailed panorama of human and animal activities during a harsh winter. This painting, along with others like 'Winter Landscape with a Frozen River and Figures' and 'Winter Landscape with Skates and People Playing Golf', showcase his knack for narrative, capturing various facets of 17th-century Dutch society enjoying the winter season.
Despite being mute and probably deaf, Hendrick Avercamp's keen observation skills are evident in his works, where he intricately portrays diverse classes engaging in various winter activities. He produced about a hundred paintings, many of which can be seen in the Rijksmuseum in Amsterdam and the Mauritshuis in The Hague. His work was also celebrated for its historical quality, providing a glimpse into the life of different societal levels in the Netherlands at that time.
For collectors and enthusiasts of art and antiques, Hendrick Avercamp's paintings offer a fascinating window into the Dutch Golden Age, with their vivid portrayal of life and activities in a winter setting. His works, characterized by meticulous detail and a cheerful narrative, remain an integral part of the conversation in the history of Dutch art.
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Ambrosius Benson was an Italian painter who became a part of the Northern Renaissance.
While many surviving paintings have been attributed, there is very little known of him from records, and he tended not to sign his work. He is believed to be responsible for mainly religious art, but also painted portraits on commission. He sometime painted from classical sources, often setting the figures in modern-dress, or a contemporary domestic setting. In his lifetime he was successful; he had a large workshop, his work was sold internationally and he was especially popular in Spain.
Joachim Beuckelaer, a masterful Flemish painter born around 1533, was renowned for his intricate market and kitchen scenes, which were abundant with detailed depictions of food and household items. His unique approach combined everyday life with religious narratives, often situating biblical episodes within the backdrop of bustling market scenes or domestic settings. This innovative blend of the mundane with the spiritual set the stage for future developments in Dutch and Flemish painting.
Beuckelaer's influence extended beyond his immediate geographic locale, impacting artists across Europe, from Italy to Spain, heralding a new appreciation for kitchen and market scenes that would flourish in seventeenth-century painting. His works were not only appreciated for their aesthetic and technical mastery but also for their ability to capture the essence of sixteenth-century Antwerp life, from the vibrancy of its markets to the intimacy of its kitchens.
His oeuvre includes a variety of subjects, from purely religious works to those that focus solely on still-life elements without any human figures, indicating his versatility and innovation as an artist. Beuckelaer was known for employing techniques that allowed him to efficiently reuse compositions, showcasing his ability to adapt and repurpose his work to meet the demands of his patrons.
Notable works by Beuckelaer, such as the "Four Elements" series, now housed in the National Gallery, London, demonstrate his skill in merging complex allegories with detailed observations from nature and daily life. These paintings are celebrated for their depth of detail and the way they foreground the role of women in the culinary and market spheres.
For collectors and experts in art and antiques, Joachim Beuckelaer's paintings offer a fascinating glimpse into the cultural and social dynamics of the sixteenth century, as well as the evolution of still-life and genre painting in the early modern period. His ability to weave together the secular and sacred, the abundant and the everyday, marks him as a significant figure in the history of art.
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Willem Janszoon Blaeu was a Dutch cartographer and map publisher.
Willem studied astronomy and cartography under the Danish astronomer Tycho Brahe and even discovered the variable star P Swan in 1600. A little later Blaeu settled in Amsterdam, where he began making globes and also began producing land and sea maps, including a 1605 world map. In 1629 he managed to acquire the printing plates of the cartographer Jodok Hondius, with which he published his own atlas.
In 1633, Willem Blaeu was appointed cartographer of the Dutch Republic, as well as the official cartographer of the Dutch East India Company. Blau built up a large collection of maps and conducted an extensive publishing business. After Willem's death, his sons Jan Blaeu (1596-1673) and Cornelius Blaeu successfully continued his work. But in 1672, during a fire in Amsterdam, Blaeu's workshop was destroyed, and the company founded by Willem Blaeu ceased to exist in 1698.
Abraham Bloemaert was a Dutch painter, draughtsman, and printmaker from the Golden Age of Dutch painting, one of the founders of the Guild of St. Luke in Utrecht. Bloemart was a caravagist. He painted mainly landscapes, mythological and biblical scenes, and pastoral works.
Hans Bol was a Flemish artist renowned for his miniature paintings and prints. Born in Mechelen, Bol was a pivotal figure in the transition from the world landscape tradition to a more realistic portrayal of nature. His early works as a 'water-verwer' offered affordable wall decorations but were susceptible to copying. This led him to create intricate miniatures on parchment, a medium less easily replicated.
Bol's influence on landscape art in the Low Countries is significant. His realistic landscapes, often featuring biblical scenes or daily life, showed a departure from imaginary landscapes, which was common at the time. This shift was partly due to the influence of Pieter Bruegel the Elder. Bol's completion of the Four Seasons series, initially started by Bruegel, established him as a master of landscape art, blending detailed observation with imaginative elements.
Notably, Bol's works are present in prestigious institutions such as the Metropolitan Museum of Art, where pieces like "The Prodigal Son" and various landscapes reflect his mastery of pen, ink, and wash. His artworks, like the "Landscape with a View of Antwerp," stand testament to his skill in capturing the essence of the Dutch landscape, influencing a generation of Dutch painters.
For collectors, auctioneers, and art connoisseurs, Hans Bol's legacy offers a glimpse into the evolution of landscape painting. His works not only adorned the homes of the affluent during his time but continue to be celebrated for their historical and artistic value.
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Schelte Adamsz Bolswert was a leading Dutch engraver, noted for his works after Rubens and Van Dyck. Both he and his older brother, Boetius à Bolswert, worked in Amsterdam and Haarlem before settling in Antwerp. For the last five years of his life Boetius worked exclusively on engravings after Rubens. Bolswert's plates were worked entirely with the graver, and he does not seem to have made any use of the drypoint. The freedom which this excellent artist handled the graver, the picturesque roughness of etching, which he could imitate without any other assisting instrument, and the ability he possessed of distinguishing the different masses of colours, have always been admired by the conoisseurs".
Hieronymus Bosch, a Netherlandish painter born around 1450 in 's-Hertogenbosch, remains one of the art world's most enigmatic figures. Bosch's work is renowned for its intricate, symbolic, and often unsettling imagery, depicting fantastical creatures, earthly pleasures, and human folly with a depth that continues to fascinate scholars and art lovers alike. Despite the scarcity of biographical details—owing to the lack of personal letters or diaries—Bosch's legacy as a pivotal figure in the transition from the medieval to the modern worldview is undisputed.
Bosch spent virtually his entire life in his birthplace, where his family had deep roots in the artistic community. His grandfather and father were both painters, suggesting that Bosch likely received his initial training within his family. By the late 15th century, Bosch had become a respected member of the local Brotherhood of Our Lady, contributing significantly to the cultural and religious life of his community through his artworks. Notably, Bosch's oeuvre includes around thirty paintings, with "The Garden of Earthly Delights," a triptych full of intricate, allegorical imagery, standing out as one of his masterpieces. This work, alongside others such as "The Temptation of St. Anthony" and "The Haywain Triptych," showcases Bosch's unique ability to blend religious themes with his vivid imagination, offering commentary on human sin and redemption.
Bosch's art, characterized by its detailed landscapes populated with a myriad of creatures both heavenly and demonic, reflects a deep moral concern with the fate of humanity, yet leaves much to interpretation. His works are preserved in some of the world's most prestigious museums, including the Museo del Prado in Madrid, where "The Garden of Earthly Delights" is housed, underscoring his lasting impact on the cultural and artistic heritage of the Renaissance period.
Despite the challenges in attributing some works definitively to Bosch due to the absence of signatures on many of his paintings, about 25 paintings and eight drawings are confidently ascribed to him, with others attributed to his workshop. Bosch's influence extended beyond his lifetime, notably inspiring Pieter Bruegel the Elder, and continues to captivate contemporary audiences with his complex iconography and detailed panoramic scenes.
For collectors and experts in art and antiques, Bosch's work represents a fascinating intersection of culture, art, and the human condition, offering endless avenues for exploration and appreciation. To stay updated on new discoveries, sales, and auction events related to Hieronymus Bosch, signing up for updates can provide exclusive insights and opportunities to deepen one's understanding and collection of this remarkable artist's work.
Ambrosius Bosschaert the Elder, born on January 18, 1573, in Antwerp and passing away in 1621 in The Hague, was a pivotal figure in the Dutch Golden Age of painting. Recognized for his remarkable contributions to the art of still life painting, particularly floral arrangements, Bosschaert founded a dynasty of painters who furthered his intricate style of floral and fruit painting. This legacy cemented Middelburg's status as a premier center for flower painting in the Dutch Republic.
Fleeing to the Northern Netherlands due to religious persecution, Bosschaert and his family settled in Middelburg around 1587, where he would spend the majority of his career. His paintings, known for their precision and vibrant composition, reflect the era's fascination with botany, merging scientific accuracy with artistic beauty. Bosschaert's work was not only celebrated for its aesthetic appeal but also for its symbolic and sometimes religious meanings, often painted on small copper canvases that highlighted the meticulous detail of each flower.
His influence and techniques were continued by his three sons and his brother-in-law, Balthasar van der Ast, ensuring the Bosschaert style flourished through the mid-17th century. Bosschaert's approach to flower painting laid the groundwork for what would become a defining genre in Dutch art, showcasing not just the beauty of nature but the wealth and intellectual curiosity of the era.
For collectors and experts in art and antiques, Ambrosius Bosschaert the Elder's contributions to still life and flower painting remain invaluable. His legacy is preserved in the meticulous bouquets that capture the transient beauty of flora, making his works sought after for both their historical significance and timeless appeal.
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Paul Bril was a prominent Flemish painter, best known for his significant contributions to landscape painting. Born around 1554 in Antwerp, he later moved to Rome, where he became a central figure in the art scene, influencing the Italian and Northern European landscape painting traditions.
Paul Bril's early works were steeped in the Flemish manner, exhibiting a picturesque arrangement of landscape elements with dramatic contrasts of light and dark. His style evolved during his stay in Rome, influenced by the work of Annibale Carracci and Adam Elsheimer. By around 1605, Bril's compositions became more serene and classical, showcasing calmer transitions from foreground to background and embracing pastoral and mythological themes.
Paul Bril's contributions extended beyond his paintings. He was a respected figure in Rome's art community, becoming the first foreign director of the Accademia di San Luca in 1621. His patrons included some of the most influential families in Rome, and his work was sought after by collectors and fellow artists. Bril's influence was profound, impacting future generations of artists, including the Dutch Italianates and genre painters active in Rome.
His works can be found in prestigious galleries worldwide, illustrating his enduring legacy in the art world. For collectors and art and antiques experts, Paul Bril's work represents a significant period in the evolution of landscape painting, blending Flemish traditions with Italian classicism.
For those interested in exploring the captivating landscapes and historical significance of Paul Bril's art, staying informed about new product sales and auction events is essential. Signing up for updates can provide valuable insights and opportunities to acquire pieces associated with this influential artist.
Pieter Bruegel (also Brueghel or Breughel) the Elder (Dutch: Pieter Bruegel de Oude) was the most significant artist of Dutch and Flemish Renaissance painting, a painter and printmaker, known for his landscapes and peasant scenes (so-called genre painting); he was a pioneer in making both types of subject the focus in large paintings.
Pieter Brueghel the Younger was a Flemish artist celebrated for his detailed landscapes, religious themes, proverbs, and vibrant village scenes. Despite being the son of the illustrious Pieter Bruegel the Elder, Brueghel the Younger carved out his own niche in the art world, earning the moniker 'Hell Brueghel' for his dynamic scenes of fires and energetic copies of his father's peasant life portrayals.
Brueghel the Younger's original creations, such as "The Village Lawyer," showcase his keen observation of village life, merging the energy and boldness of 17th-century style with his father's idiom. His work is characterized by its lively, picturesque depiction of peasants, albeit some critics argue they lack the subtlety and humanism of his father's creations. Despite this, Brueghel the Younger's legacy includes a significant number of original works and copies that were rediscovered in the 20th century, highlighting his contribution to the Flemish painting tradition.
His workshop was known for its prolific output, especially in producing copies of Bruegel the Elder's compositions, a testament to the enduring popularity and influence of the Bruegel family's artistic legacy. However, Brueghel the Younger also impressed with his unique compositions, contributing to the genre of still life and village scenes with a distinct style that resonated well into modern times.
For collectors and experts in art and antiques, Pieter Brueghel the Younger's works represent an important period in Flemish art, offering insights into the evolution of genre painting and the detailed portrayal of rural life. His paintings, held in esteemed collections worldwide, continue to be studied and admired for their vibrancy, narrative quality, and historical value.
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Pieter Claesz was a Dutch Golden Age painter of still lifes.
He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or dinner piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more hospitable kind than Heda, although his later work became more colourful and decorative. Claesz's still lifes often suggest allegorical purpose, with skulls serving as reminders of human mortality. The two men founded a distinguished tradition of still life painting in Haarlem. Pieter Claesz was influenced by the artist movement 'Vanitas'.
Cornelis Cort, also known as Cornelio Fiammingo, was a Dutch engraver and draughtsman. He began his career in the Northern Netherlands, but later moved to Venice and lived in Titian's house. Cort produced engravings based on Titian's works and became renowned for his copperplates of various subjects. He traveled back and forth between Italy and the Netherlands, establishing a school in Rome and circulating works of famous artists. Cort's impressive output includes over 150 engravings.
Joost Cornelisz. Droochsloot was a Dutch painter of the Dutch Golden Age, member of the Guild of St. Luke in Utrecht. He was a versatile painter, painting landscapes, moral allegories, and biblical stories. But he was mainly known for his genre rustic scenes with many participants, these paintings often had a moral component. In his compositions, Drochslot paid much attention to detail and signed them with the monogram "JCODS."
Gemma Frisius, born Jemme Reinerszoon Frisius, was a Dutch mathematician, physician, cartographer, philosopher, engraver, and master of astronomical instruments.
He taught mathematics and medicine at the University of Leuven and applied his mathematical knowledge to astronomy, geography, and map-making. Frisius participated in the creation of the latest globes and used mathematics in geodesy and navigation in new ways and invented or improved many instruments, including the cross staff, the astrolabe, and the astronomical rings (also known as "Gemma rings"). He ran a workshop for making such instruments.
Frisius is credited with being one of the founders of the Dutch school of cartography.
Philips Galle was a Dutch publisher, best known for publishing old master prints, which he also produced as designer and engraver. He is especially known for his reproductive engravings of paintings.
As a resident of Antwerp, Galle witnessed numerous events of the Eighty Years War, notably the siege and looting of the town in 1576 by the Spaniards, called "The Spanish Fury". This rather personal book, which was translated in several languages soon after its first publication, shows Galle as a peace-loving person who intended to stay far away from the political and military turmoil of his era.
Lucas Gassel was a Flemish Renaissance landscape painter.
Gassel was a humanist, socialized with other humanists in the Netherlands, and was a well-known and successful artist. Gassel's extant paintings depict distant landscapes, often with famous episodes from the Bible depicted in the foreground, such as the Escape to Egypt, or characters from classical mythology, such as Pyramus and Thebes. His drawings and engravings with scenes from court and everyday life are also well known.
Hendrick Goltzius was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, lauded for his sophisticated technique, technical mastership and "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In the middle of his life he also began to produce paintings.
Frans Hals was a Dutch painter who painted during the so-called Golden Age. He is considered to be one of the most important old Dutch masters. As far as is known, Frans Hals worked all his life in Haarlem and became best known for his lively and colourful paintings of his contemporaries.
Hendrik Hondius I was a Flemish-born and trained engraver, cartographer, and publisher who settled in the Dutch Republic in 1597. Hondius was apprenticed in Brussels to Godfried van Ghelder, goldsmith to Alexander Farnese, Duke of Parma. He also studied drawing with the engraver Jan Wierix of Antwerp. At this time he started to study engraving. He applied himself to mathematics and studied perspective, architecture and the construction of fortifications. He moved to The Hague by 1597. He obtained his first print privilege for a portrait of Prince Maurits. He dedicated himself to his engraving practice. His work was very well received and he got commissions from many eminent personalities for engravings or drawings. He turned more to publishing rather than engraving and printing in the 1630s. His publications were mainly maps, books about fortifications and official portraits.[5] He also reused original plates and blocks by earlier artists for reprinting and such reprints represented almost a third of his publishing output. In the 1640s he returned to printing concentrating exclusively on etching. One of the most important publications of Hondius was the work Pictorum aliquot celebrium praecipue Germaniae inferioris Effigies (Effigies of some celebrated painters, chiefly of Lower Germany) of 1610, which was a collection of 69 portraits of mainly Netherlandish artists.
Dirck Jacobsz was a distinguished Dutch Renaissance painter, known for his contributions to the Dutch Golden Age of painting. Born into a lineage of artists, Jacobsz honed his skills under the guidance of his father, Jacob Cornelisz van Oostsanen, before establishing his own reputation in the art world. The influence of Jan van Scorel, a fellow Amsterdam painter, is evident in Jacobsz's Mannerist style, contributing to his unique artistic expression.
Jacobsz's legacy includes notable works that have been celebrated for their historical significance and craftsmanship. Among these, "The Crossbowmen" (1529) stands out as his most important piece, marking a pioneering moment in Dutch history as the first militia portrait. This work, along with his other group portraits of civic guards, showcases Jacobsz's exceptional talent in capturing the essence of his subjects, contributing to the rich tapestry of Dutch Renaissance art.
His artistic journey was deeply rooted in his family's legacy, with both his brother Cornelis and his son Jacob Dircksz continuing the tradition of painting. This continuation of the artistic profession within the family underscores the significance of the Jacobsz lineage in the Dutch art scene. Dirck's work, deeply influenced by his surroundings and the prevailing styles of his time, encapsulates the transition of artistic identity through generations, reflecting both personal and societal narratives.
Dirck Jacobsz's contributions to the world of art are commemorated through his works housed in various museums, including the Amsterdam Museum, which showcases his militia paintings and the portrait of Pompejus Occo. These pieces not only highlight Jacobsz's skill and versatility as a painter but also offer insights into the social and cultural contexts of the Dutch Renaissance.
For collectors and experts in art and antiques, Dirck Jacobsz remains a figure of interest for his historical significance and the quality of his work. To stay informed about new discoveries, sales, and auction events related to Dirck Jacobsz, consider signing up for updates from art galleries and auction houses. This will ensure you have access to the latest information and opportunities to acquire works by this renowned Dutch Renaissance painter.
Francis Junius the Elder, born François du Jon, was a French linguist, exegete and professor of Reformed theology, and diplomat.
Junius first studied law and then theology and became a student of Jean Calvin and Theodore Beza in Geneva. For his success and knowledge of languages he was appointed minister at Antwerp, but was forced to flee to Heidelberg in 1567.
In collaboration with Immanuel Tremellius he wrote one of the significant translations of the Bible into Latin, and his theological work De Vera Theologia is the most important work on Reformed dogmatics. Some of du Jon's works were published in 1882 by Abraham Kuyper in his Reformed Library. His son François du Jon the Younger (1591 - 1677) became a noted art historian and founder of Germanic philology.
Levinus Lemnius (Dutch: Lieven Lemse, Lenneus, Lennius, Lemmens, Lemnii of Lemnes) was a Dutch physician, philosopher, botanist and writer.
He studied under the famous Swiss botanist and bibliographer Conrad Gesner at the University of Louvain and under the famous Flemish anatomist Andreas Vesalius at the University of Padua. Lemnius's book On the Habit and Constitution of the Body was translated by Thomas Newton, an Anglican clergyman who translated some of Lemnius's treatises into English, as well as other modern continental and classical works.
Lemnius is considered the first author to describe the plants mentioned in the Bible, in T. Newton's translation, Herbal for the Bible (1587). Levin Lemnius's most famous book is Occulta naturae miracula (1559), a book of mysteries that was reprinted many times over a period of four hundred years.
Quentin Matsys (Dutch: Quinten Matsijs), a Flemish painter born around 1466 in Leuven, is recognized as a pivotal figure in the Early Netherlandish tradition and a founder of the Antwerp school of painting. His initial training as an ironsmith in his father's workshop lent a unique craftsmanship to his artistic endeavors. Matsys' works, which often contained religious themes and satirical elements, were instrumental in the transition from medieval to Renaissance art in northern Europe.
Matsys' early works exhibit the influence of Hans Memling, and later, his exposure to Italian Renaissance artists, especially Leonardo da Vinci, is evident in his refined technique. This amalgamation of Northern European and Italian influences resulted in a distinctive style that earned him the reputation as the leading painter in Antwerp during the early 16th century.
Today, Matsys' masterpieces are housed in prestigious institutions like the National Gallery in London, serving as a testament to his enduring legacy. His contributions to the art world resonate with collectors and historians alike, who admire his innovative blend of technical skill and evocative expression.
Cornelis Cornelisz. van Haarlem was a Dutch painter, draftsman, and architect. Along with Karel van Mander and Hendrik Goltzius, he is one of the leading artists of the Dutch Mannerism of the Haarlem School, more commonly referred to as Cornelis van Haarlem.
Desiderius Erasmus, also Erasmus of Rotterdam, or simply Erasmus (Latin: Desiderius Erasmus Roterodamus, Dutch: Gerrit Gerritszoon) was a Dutch humanist, philosopher, and the greatest scholar of the Northern Renaissance.
He was illegitimate and brought up under the name Gerhard Gerhards, later in Latin his name was dubbed Desiderius Erasmus. At the age of 13, the boy was sent to a monastery, where he later took the ministry. Erasmus read a lot, improving in Latin and Ancient Greek, studied oratory. A few years later he received the post of secretary to the bishop of the French city of Cambre. From 1493 to 1499 Rotterdam lived in Paris, then in London he was introduced to Thomas More, John Fisher, and John Colet.
Erasmus was constantly on the move, rarely staying in one place and traveling frequently between the Netherlands, Britain, France and Italy. In Turin he earned a doctorate in theology and was received by the Pope, then taught ancient Greek and theology at Cambridge. He corresponded with the rulers of various countries, popes and cardinals, and with statesmen, answering their questions of a scientific, political, and philosophical nature. As a true humanist, Erasmus of Rotterdam adhered to the ideas of a scientific spirit that favored research and true knowledge.
Among the merits of Rotterdamsky study of religious texts from a scientific position, critical interpretation of theology. Erasmus was able to lay the groundwork for historical-critical study of the past, especially in his studies of the Greek New Testament and the church fathers. His educational writings helped to replace the old school curriculum with a new humanistic emphasis on the classics.
In 1501, Erasmus produced a religious and ethical treatise, The Arms of the Christian Warrior, published in 1504. His work entitled "The Praise of Folly" was reprinted 40 times only during the author's lifetime, the book has been translated into all popular languages of the world. The series "Conversations in a Simple Way" (1518-1533) is among the most popular books on pedagogy. Erasmus promoted respect and care for children, opposing violence and corporal influence. He also promoted the idea that education should be compulsory for everyone.
Roelant Savery was a Flanders-born Dutch Golden Age painter.
Savery primarily painted landscapes in the Flemish tradition of Gillis van Coninxloo, often embellished with many meticulously painted animals and plants, regularly with a mythological or biblical theme as background. He also painted multiple flower still lifes; bouquets in stone niches, sometimes with lizards such as Flowers with Two Lizards, insects or fallen petals and regarded as his best work.
His unique style of painting, related to the then reigning Mannerism, has been highly popular with collectors and can be found in many museums in Europe and North America. His preparatory drawings are also valued highly.
Jacob Savery the Elder was a Flemish painter, etcher and draughtsman. He was trained in Antwerp and later moved to the Dutch Republic after 1584. He specialised in still lifes, animals, landscapes en genre paintings.
Jacob’s earliest known works of 1584-86 are mostly cabinet-size landscapes that clearly show the influence of his master Hans Bol.
In Amsterdam Jacob was active as painter, etcher and draftsman. He produced a series of etchings in Pieter Bruegel the Elder's stipple technique depicting idealized rural scenes full of picturesque details, such as castle ruins and rabbit hunts.
Hendrick Jansz ter Brugghen was a Dutch painter of genre scenes and religious subjects. He was one of the Dutch followers of Caravaggio – the so-called Utrecht Caravaggisti. Along with Gerrit van Hondhorst and Dirck van Baburen, Ter Brugghen was one of the most important Dutch painters to have been influenced by Caravaggio.
Ter Brugghen's favourite subjects were half-length figures of drinkers or musicians, but he also produced larger-scale religious images and group portraits. He carried with him Caravaggio's influence, and his paintings have a strong dramatic use of light and shadow, as well as emotionally charged subjects. His treatment of religious subjects can be seen reflected in the work of Rembrandt, and elements of his style can also be found in the paintings of Frans Hals and Johannes Vermeer. Peter Paul Rubens described ter Brugghen's work as "...above that of all the other Utrecht artists".
Hendrik van Balen the Elder was a Flemish Baroque painter and stained glass artist, member of the Guild of Saint Luke in Antwerp.
Hendrik van Balen specialized in small cabinet paintings, often painted on copperplate. The artist's work was inspired by mythological and allegorical as well as religious subjects. The artist played an important role in the renewal of Flemish painting at the beginning of the 17th century and was one of Antoni van Dyck's teachers.
Joos van Cleve, also known by his real name Joos van der Beke, was a prominent Netherlandish painter, active mainly in Antwerp from about 1511 until his death in 1540 or 1541. His work predominantly centered around religious subjects and portraits, including notable commissions for the French King Francis I during his time at the French court. His artistic oeuvre reflects a blend of traditional Netherlandish painting techniques with contemporary Renaissance styles, showcasing his direct knowledge of local art combined with an awareness of Italian developments.
Van Cleve's work was characterized by its elaborate detail, particularly in his altarpieces which often incorporated portraits and landscapes, demonstrating his refined painting style. His success in Antwerp was significant, and he was also recognized at the French court, indicating his high regard as a portrait artist. Notably, Van Cleve had the opportunity to paint members of the royal court, including King Francis I and Queen Eleanor of Austria, underscoring his skills in portraiture.
His paintings are recognized for their sensitivity to color and a unique solidity of figures, with some works showcasing the popular style of Antwerp Mannerism. Van Cleve was an innovator in introducing broad world landscapes in the backgrounds of his paintings, a technique that became popular in sixteenth-century northern Renaissance paintings. Despite his contributions to the Renaissance art movement, Van Cleve also produced works that were highly eclectic, drawing on the styles of earlier Netherlandish masters as well as Italian influences, particularly in his use of sfumato, evident in his Virgin and Child compositions.
For art collectors and experts, Joos van Cleve's legacy offers a rich exploration into the transition from medieval to Renaissance art in Northern Europe. His body of work, found in prestigious collections such as the National Gallery in Prague, the Louvre, and the Royal Museums of Fine Arts of Belgium, remains a testament to his versatility and skill as a painter of both religious narratives and royal portraits.
To delve deeper into the fascinating world of Joos van Cleve and to stay informed about exhibitions or sales featuring his work, consider signing up for updates from art institutions and auction houses. This subscription will ensure you remain at the forefront of developments and opportunities related to this influential artist's oeuvre, enhancing your collection and understanding of Renaissance art.
Marten van Cleve the Elder was a Flemish painter and draftsman active in Antwerp between 1551 and 1581. Van Cleve is mainly known for his genre scenes with peasants and landscapes, which show a certain resemblance with the work of Pieter Bruegel the Elder. Marten van Cleve was one of the leading Flemish artists of his generation. His subjects and compositions were an important influence on the work of Pieter Brueghel the Younger and other genre painters of his generation.
Crispijn van de Passe the Elder was a Netherlandish engraver and publisher, renowned for his intricate and evocative engravings that spanned various subjects, including portraits, historical scenes, and mythological tales. His work contributed significantly to the art and culture of the time, capturing the complexities of human emotions and narratives in his prints.
Noteworthy is his engraving of Queen Elizabeth I, which highlights his proficiency in portraiture, illustrating the regal demeanor and significance of the English monarch in 1592. His series on "The Muses," specifically the depiction of Euterpe, showcases his skill in combining engraving with etching to portray the grace and inspiration associated with the muses of classical mythology. Furthermore, his work on "Liber Genesis," particularly "Aftermath of the Flood," demonstrates his ability to convey powerful biblical stories through his artistry.
Crispijn's family, including his children, continued his legacy in engraving, contributing to the family's reputation in the art world. His works are held in prestigious institutions worldwide, such as The Metropolitan Museum of Art in New York and the Rijksmuseum in Amsterdam, underscoring their enduring appeal and significance in the history of art.
For collectors and experts in art and antiques, Crispijn van de Passe the Elder's engravings offer a glimpse into the artistic endeavors of the 16th and 17th centuries, reflecting the cultural and historical contexts of the time. To stay updated on sales and auction events featuring his works, consider signing up for updates, ensuring access to the latest offerings related to this distinguished artist's creations.
Esaias van de Velde was a Dutch painter and printmaker from the van de Velde family of artists.
Esaias van de Velde is considered a representative of the Haarlem School of painting, which introduced a new, emotional aspect to the Dutch landscape. In addition to landscapes with individual human figures, the artist painted urban views and genre paintings. Esaias van de Velde's later work is characterised by a richness of composition and vivid colour. The artist also painted table scenes and cavalry battles, which became a model for many generations of battalists.
Pieter van der Keere (Latin: Petrus Kaerius) was a Flemish engraver, publisher, cartographer and globe maker.
His father was the master of typefaces Hendrik van der Keere (c. 1540-1580); in 1584 he fled from the Netherlands to London, where he lived most of his life. Pieter van der Keere produced engravings and atlases. From 1603, Kere began to produce large city panoramas, including Utrecht, Cologne, Amsterdam and Paris.
An atlas of the Netherlands was published in 1617, with der Keere's name as publisher and his full signature on several maps. He also produced topographical maps of Amsterdam and Nuremberg, as well as a world map ("Nova totius terrarum orbis..."), which was printed by Jan Janszoon in Amsterdam.
Jan van Hemessen was a leading Flemish Renaissance painter, belonging to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting. Van Hemessen had visited Italy during the 1520s, and also Fontainebleau near Paris in the mid 1530s, where he was able to view the work of the colony of Italian artists known as the First School of Fontainebleau, who were working on the decorations for the Palace of Fontainebleau. Van Hemessen's works show his ability to interpret the Italian models into a new Flemish visual vocabulary.
Lucas van Leyden, also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch painter and printmaker in engraving and woodcut. Lucas van Leyden was among the first Dutch exponents of genre painting and was a very accomplished engraver.
Michiel Jansz. van Mierevelt was a Dutch portrait painter of the Golden Age.
Michiel Jansz. van Mierevelt studied painting in Utrecht and soon became a recognized master of portraiture. He also painted on historical and mythological subjects.
Jacob Cornelisz van Oostsanen was a Northern Netherlandish designer of woodcuts and painter. He was one of the first important artists working in Amsterdam, at a time when it was a flourishing and beautiful provincial town.
Throughout his artistic career, Cornelisz's painting style changed. At first, he started as a late Gothic craftsman under the influence of the Haarlem school and then ended with a style presented by the painting Saul and the Witch of Endor. In this particular painting, the details are simple, elongated proportions and a looser stroke of paint. Though he excelled as a technical painter, he was not a good leader. He progressed at presenting contemporary trends in subject-matter and style.
Cornelisz's symbolism was also conservative as well. He painted mostly sacred themes with traditional iconography in old and new combinations in response to an event, such as the Reformation.
Bernard van Orley was a versatile Flemish artist and representative of Dutch and Flemish Renaissance painting, who was equally active as a designer of tapestries and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
Marinus van Reymerswaele was a Dutch Renaissance painter mainly known for his genre scenes and religious compositions. After studying in Leuven and training and working as an artist in Antwerp, he returned later to work in his native Northern Netherlands. He operated a large workshop which produced many versions of mainly four themes: the tax collectors, the money changer and his wife, the calling of Saint Matthew and St. Jerome in his study.
Jan van Scorel was a Dutch painter, who played a leading role in introducing aspects of Italian Renaissance painting into Dutch and Flemish Renaissance painting. He was one of the early painters of the Romanist style who had spent a number of years in Italy, where he thoroughly absorbed the Italian style of painting.
Jacob Isaacszoon van Swanenburg was a Dutch painter, draftsman and art dealer. He was known for his city views, history paintings, Christian religious scenes and portraits. He spent a substantial part of his early career in Italy before returning to his native Leiden. He was the teacher of the young Rembrandt.
Otto van Veen was a painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late 16th and early 17th centuries. He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubens' teacher. His role as a classically educated humanist artist (a pictor doctus), reflected in the Latin name by which he is often known, Octavius Vaenius, was influential on the young Rubens, who would take on that role himself.
Hans Vredeman de Vries was a Netherlandish painter and printmaker, decorative artist, architect and Renaissance engineer.
After studying the works of Vitruvius and Sebastiano Serlio and putting in a great deal of labor himself, Vredeman became known throughout Europe as a specialist in perspective. As an architectural theorist, he was most famous for his varied designs of invented views of cities and buildings shown in carefully considered linear perspective. These were apparently created as models for architects.
In 1575-1586 Hans Vredeman de Vries was appointed city architect of Antwerp and was responsible for the fortifications of the city. He then worked in Hamburg, Danzig, Prague and Amsterdam. He is also known for his 1583 publication on garden design and books with many examples of ornamentation and perspective.
His son Salomon Vredeman de Vries (1556-1604) was also an artist.
Hendrik Cornelisz. Vroom was a Dutch Golden Age painter credited with being the founder of Dutch marine art or seascape painting. Beginning with the "birds-eye" viewpoint of earlier Netherlandish marine art, his later works show a view from lower down, and more realistic depiction of the seas themselves.
Lucas Waghenaer, full name Lucas Janszoon Waghenaer, was a famous Dutch cartographer, navigator, navigator and writer of the Golden Age.
Between 1550 and 1579, Waghenaer sailed the seas as a senior assistant captain and probably socialized with Portuguese, Spanish, and Italian navigators. The knowledge of nautical charts and the instructions Waghenaer received as a result of these contacts had a great influence on his later work as a cartographer. It is evident that the charts he made had to be based on his observations, and in all his work he had to draw on his own extensive experience of practical navigation. His book Spieghel der Zeevaerdt ("The Navigator's Mirror") or Speculum nauticum super navigatione, first published in 1584, occupies a unique place among the nautical printed works of the sixteenth century, for it is the first printed work with maps.
Moreover, in terms of the magnificent design of the maps and text, it surpasses all other editions of this period and served as a model for pilotage guides and folios with maps even a century later. It is an atlas of nautical charts with instructions for navigation in the western and northwestern coastal waters of Europe. Thanks to the unrivaled skill of engravers Baptiste and Johannes van Deitekom, Waghenaer's original maps were transformed into the most beautiful maps of the time. This book was a huge success, reprinted several times and translated into English, German, Latin and French.
In 1592, Waghenaer's second pilot book Thresoor der zeevaert ("Treasure of Navigation") was published, and in 1598, the third and last publication Enchuyser zeecaertboeck ("Enkhuizen Book of Nautical Charts").
Adam Willaerts was a Dutch marine painter and one of the founders of the Guild of St. Luke of Utrecht. He is known for his paintings of the Navy of the Republic of the United Provinces. He also painted city, sea, and beach scenes and landscapes.
Joachim Anthoniszoon Wtewael, also Joachim Uytewael, was a Dutch painter, mannerist, engraver, and stained-glass artist, member of the Guild of Saint Luke in Utrecht. He painted mainly on religious and mythological subjects. After a trip to Italy and France he returned to Utrecht, where he became one of the leading Dutch representatives of Mannerism.