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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.


He was born in Antwerp, where he started his career, but he spent most of it in Middelburg (1587-1613), where he moved with his family because of the threat of religious persecution. He specialized in painting still lifes with flowers, which he signed with the monogram AB (the B in the A).

At the age of twenty-one, he joined the city's Guild of Saint Luke and later became dean.
Not long after, Bosschaert married and established himself as a leading figure in the fashionable floral painting genre.
He had three sons who all became flower painters: Ambrosius II, Johannes and Abraham.
His brother-in-law Balthasar van der Ast also lived and worked in his workshop and accompanied him on his travels. Bosschaert later worked in Amsterdam (1614), Bergen op Zoom (1615-1616), Utrecht (1616-1619) and Breda (1619).

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In 1619 when he moved to Utrecht, his brother-in-law van der Ast entered the Utrecht Guild of St. Luke, where the renowned painter Abraham Bloemaert had just become dean.
The painter Roelandt Savery (1576-1639) entered the St. Luke's guild in Utrecht at about the same time. Savery had considerable influence on the Bosschaert dynasty.
After Bosschaert died in The Hague while on commission there for a flower piece, Balthasar van der Ast took over his workshop and pupils in Middelburg.


His bouquets were painted symmetrically and with scientific accuracy in small dimensions and normally on copper.
They sometimes included symbolic and religious meanings. At the time of his death, Bosschaert was working on an important commission in the Hague.
That piece is now in the collection in Stockholm.
Bosschaert was one of the first artists to specialize in flower still life painting as a stand-alone subject. He started a tradition of painting detailed flower bouquets, which typically included tulips and roses.
Thanks to the booming seventeenth-century Dutch art market, he became highly successful, as the inscription on one of his paintings attests.
His works commanded high prices although he never achieved the level of prestige of Jan Brueghel the Elder, the Antwerp master who contributed to the floral genre.


His sons and his pupil and brother-in-law, Balthasar van der Ast, were among those to uphold the Bosschaert dynasty which continued until the mid-17th century.
It may not be a coincidence that this trend coincided with a national obsession with exotic flowers which made flower portraits highly sought after.
Although he was highly in demand, he did not create many pieces because he was also employed as an art dealer.| © Wikipedia

Ambrosius Bosschaert il Vecchio (Anversa, 18 gennaio 1573 - L'Aia, 1621) è stato un pittore di nature morte del Secolo d'oro Olandese.


Cominciò la sua carriera ad Anversa, anche se passò la maggior parte della vita a Middelburg, dove divenne decano della gilda dei pittori.
Lavorò poi ad Amsterdam, Bergen op Zoom, Utrecht e Breda.
Si specializzò nelle rappresentazioni di nature morte con fiori, spesso accompagnate da conchiglie o lepidotteri.
Nel 1587, Bosschaert si trasferì da Anversa a Middelburg con la sua famiglia per la minaccia di persecuzioni religiose.
All'età di ventun'anni entrò a far parte della Corporazione di San Luca; non molto tempo dopo Bosschaert consolidò la sua fama come figura di spicco nel proprio genere artistico.
Suo figlio Johannes Bosschaert ed il suo allievo e cognato, Balthasar van der Ast, furono tra coloro, assieme all'altro figlio Abraham Bosschaert, che portarono avanti la dinastia dei Bosschaert, la quale durò fino alla metà del XVII secolo.

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I suoi bouquet di fiori sono dipinti simmetricamente e con una precisione scientifica, solitamente in piccole dimensioni. Includono spesso significati reconditi, dove ogni fiore va a rappresentare un'accezione simbolica.
Bosschaert divenne uno dei primi artisti a specializzarsi in nature morte, e nel fare ciò diede vita ad una tradizione di opere d'arte aventi per soggetto realistici mazzi di fiori, generalmente tulipani, rose e specie esotiche.
Dal punto di vista storico, tale scelta coincise con la Bolla dei tulipani, che aumentò enormemente anche nell'arte l'interesse verso il genere floreale.
Nonostante la fama raggiunta come pittore di genere, il numero di opere di Bosschaert non è particolarmente elevato, probabilmente perché mantenne come impiego principale quello di venditore d'opere piuttosto che artista. | © Wikipedia

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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

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Hendrick van Steenwyck II ~ Baroque painter of architectural interiors

Hendrick van Steenwijk the Younger's (1580-1649) early style resembled that of his father, an architecture painter.
He likely spent several years in Antwerp, though he apparently was not enrolled in its painters' guild.
Van Steenwijk's architectural interiors of this period are frequently populated with figures by Jan Brueghel the Elder and other Flemish painters🎨 who worked in Antwerp.

In 1617 van Steenwijk settled in London, where he painted architectural interiors in the backgrounds of portraits by Anthony van Dyck🎨 and others.
By 1645 he was in Holland, working as a painter of architectural subjects at the court in The Hague.
He must have died in 1649, since his wife, also a painter, then appears in Leiden's records as a widow.
Many of van Steenwijk's church interiors were based on Antwerp Cathedral, including some night scenes lit by candles or torches. His settings also included crypts, Gothic interiors, and Renaissance palaces. | © The J. Paul Getty Museum

Agli inizi della sua carriera, lo stile di Hendrick van Steenwijk il Giovane assomiglia a quello di suo padre, un pittore di architettura.
Probabilmente ha trascorso diversi anni ad Anversa, anche se a quanto pare non era iscritto alla gilda dei suoi pittori.
Gli interni architettonici di Van Steenwijk di questo periodo sono spesso popolati da figure di Jan Brueghel il Vecchio e di altri pittori fiamminghi che lavoravano ad Anversa.
Nel 1617 van Steenwijk si stabilì a Londra, dove dipinse interni architettonici sullo sfondo di ritratti di Anthony van Dyck🎨 e altri.
Nel 1645 era in Olanda, lavorando come pittore di soggetti architettonici presso la corte dell'Aia. Deve essere morto nel 1649, poiché sua moglie, anche lei pittrice, appare nei registri di Leida come vedova.
Molti interni della chiesa di van Steenwijk erano basati sulla Cattedrale di Anversa, tra cui alcune scene notturne illuminate da candele o torce.
Le sue ambientazioni includevano anche cripte, interni gotici e palazzi rinascimentali.  | © The J. Paul Getty Museum