Visualizzazione post con etichetta Flemish Art. Mostra tutti i post
Visualizzazione post con etichetta Flemish Art. Mostra tutti i post
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Gustave de Jonghe (1829-1893)

Gustave Léonard de Jonghe, Gustave Léonard De Jonghe or Gustave de Jonghe (4 February 1829 – 28 January 1893) was a Flemish/ Belgian painter known for his glamorous society portraits and genre scenes. After training in Brussels, he started out as a painter of historical and religious subjects in a Realist style. After moving to Paris where he spent most of his active career, he became successful with his scenes of glamorous women in richly decorated interiors.


Gustave Léonard de Jonghe was born in Kortrijk as the son of the prominent landscape painter Jan Baptiste de Jonghe.
He received his first art lessons from his father. He continued his studies in Brussels at the Académie Royale des Beaux-Arts where leading Belgian painter François-Joseph Navez was one of his teachers.
The history painter Louis Gallait was his close friend and mentor. When de Jonghe’s father died when he was only 15 years old, his native city granted him a scholarship.

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Ambrosius Bosschaert the Elder | Baroque painter

Ambrosius Bosschaert the Elder (1573-1621) was a Flemish-born Dutch still life painter and art dealer.
He is recognised as one of the earliest painters who created floral still lifes as an independent genre.
He founded a dynasty of painters who continued his style of floral and fruit painting and turned Middelburg into the leading centre for flower painting in the Dutch Republic.

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Levina Teerlinc (1510-1576) | Renaissance miniaturist

Levina Teerlinc was a Flemish Renaissance miniaturist who served as a painter to the English court of Henry VIII, Edward VI, Mary I and Elizabeth I.
She was the most important miniaturist at the English court between Hans Holbein the Younger and Nicholas Hilliard.
Her father, Simon Bening was a renowned book illuminator and miniature painter of the Ghent-Bruges school and probably trained her as a manuscript painter. She may have worked in her father's workshop before her marriage.

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Catharina van Hemessen (1528-1587) | Renaissance painter

Caterina or Catharina van Hemessen was a Flemish Renaissance painter.
She is the earliest female Flemish painter for whom there is verifiable extant work.
She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.
Van Hemessen is often given the distinction of creating the first self-portrait of an artist (of either gender) depicted seated at an easel.

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Abraham Brueghel (1631-1690) Baroque painter

Abraham Brueghel was a Flemish painter from the famous Brueghel family of artists.
He emigrated at a young age to Italy where he played an important role in the development of the style of decorative Baroque still lifes.

Early life

Abraham was born in Antwerp, the son of Jan Brueghel the Younger, the grandson of Jan Brueghel the Elder and the great-grandson of Pieter 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 started to make a name for himself in his teenage years. His father sold one of Abraham's floral still lives when he was only 15 years old.

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Flemish Artists | Sitemap

Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands.
In the early period, up to about 1520, the painting of the whole area is (especially in the Anglophone world) typically considered as a whole, as Early Netherlandish painting.
This was dominated by the Flemish south, but painters from the north were also important.

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David Vinckboons (1576-1632) | Dutch Golden Age painter

Popular and prolific, David Vinckboons trained with his painter father, who brought the family to Holland to escape religious persecution in Flanders. Despite having ten children, Vinckboons's life appears relatively uneventful.
He stayed in Amsterdam, where his family had settled years before, and he must have died before January 1633, when his widow appeared before Amsterdam's orphan committee.

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Artus Wolffort (1581-1641) | Baroque painter

Artus Wolffort, Artus Wolffaert or Artus Wolffaerts (1581-1641) was a Flemish painter🎨 known mainly for his history paintings depicting religious and mythological scenes.
Wolffort and his work were not well known until the late 1970s and some of his paintings were even classified as early works by Rubens🎨.
His oeuvre was reconstructed from a fully signed work (Esther's Toilet in the Harem of Ahasuerus, original untraced, 10 copies of which one fully signed in the Victoria and Albert Museum in London) and various paintings bearing a monogram.

In the beginning of his career Wolffort completed a number of commissioned altarpieces for churches in Antwerp such as the Ascension of the Virgin and the Assumption of the Virgin (St. Paul's Church, Antwerp, 1617).
He worked, however, mainly for private patrons for whom he painted mainly religious and, to a lesser extent, mythological subjects. Many of his works consist of life-size figures depicting scenes from the life of Christ.
He made a series of representations of the Twelve Apostles, the Four Evangelists and the Church Fathers, in half life-size.
If the attribution to Wolffort is correct, a genre painting called The scullery maid🎨 (probably 1633, M - Museum Leuven) shows that Wolffort also created genre scenes for the market.
His early works were in the classizing style of Otto van Veen.

Wolffort regularly used themes and motifs of van Veen in these early works, which were executed in a proto-Baroque style🎨.
This is obvious in the work Christ in the house of Simon the Pharisee (one version auctioned at Sotheby's 4 November 2009, London, lot 56, one version in the church of St. Martin, Bergues, and another in the New Gallery -Kassel, now considered a copy), which was originally considered a work by van Veen.
The composition itself is loosely based on Rubens' work of the same subject in the Hermitage Museum, Saint Petersburg, but reversed.
A more dynamic Baroque style influenced by Rubens🎨 arose after 1630. | © Wikipedia

Artus Wolffort noto anche come Artus Wolffaert, Artus Wolffaerts, con il cogmome Wolfart, Wolfert, Wolfordt, Wolffordt e Wolfort (Anversa, 1581 - Anversa, 1641) è stato un pittore Fiammingo🎨 noto principalmente per la sua pittura storica e per le scene religiose e mitologiche.
Wolffort e la sua opera non erano ben noti fino alla fine degli anni 1970 e alcuni dei suoi dipinti furono classificati come opere giovanili di Rubens🎨.
La sua opera è stata ricostruita da un'opera completamente firmata "La toilette di Esther nell'harem di Assuero", originale non rintracciato, 10 copie di cui una interamente firmata Victoria and Albert Museum a Londra e vari dipinti che portano un monogramma.
All'inizio della sua carriera Wolffort completò un certo numero di pale d'altare commissionate per chiese ad Anversa, come Ascensione della Vergine e Assunzione della Vergine (Chiesa di San Paolo ad Anversa, 1617).
Lavorò, tuttavia, principalmente per mecenati privati per i quali dipinse principalmente temi religiosi e, in misura minore, mitologici.
Molte delle sue opere consistono in figure a grandezza naturale raffiguranti scene della vita di Cristo.

La serie di rappresentazioni a grandezza dimezzata dei Dodici Apostoli, dei Quattro Evangelisti e dei Padri della Chiesa. Se l'attribuzione a Wolffort è corretta, un dipinto di genere La sguattera🎨 (probabilmente 1633, M - Museum Leuven) mostra che Wolffort creò anche scene di genere per il mercato.
I suoi primi lavori erano in stile classista di Otto van Veen. Wolffort usava regolarmente temi e motivi di van Veen in questi primi lavori, eseguiti in stile proto-barocco.
Questo è ovvio nel lavoro Cristo nella casa di Simone il fariseo (una versione battuta da Sotheby's il 4 novembre 2009, Londra, lotto 56, una versione nella chiesa di San Martino, a Bergues, e un'altra nela New Gallery -Kassel- (ora considerata una copia), che in origine era considerata di van Veen.
La composizione stessa è liberamente basata sul lavoro di Rubens dello stesso soggetto all'Ermitage, di San Pietroburgo, ma invertito.
Uno stile barocco più dinamico influenzato da Rubens🎨 sorse dopo il 1630. | © Wikipedia