Abraham van den Tempel | |
|---|---|
 'Portrait of a woman Abraham Lambertz van den Tempel , 1668. | |
| Born | Abraham Lambertsz 1622 |
| Died | 1672 (aged 49–50) |
| Nationality | Dutch |
| Known for | Painting |
| Movement | Baroque |
Abraham van den Tempel (c.1622 – 8 October 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden. [1] According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families. Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. [2] He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.
He became master of the Guild of St. Luke in 1657 and in 1659 he was chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling. [1]
Abraham van den Tempel was born in Leeuwarden, Netherlands, around 1622. He likely received his early artistic training from his father, Lambert Jacobsz, a respected art teacher and Mennonite preacher. Jacobsz had previously instructed notable artists like Govert Flinck and Jacob Adriaensz Backer.
Gerbrand van den Eeckhout was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art.
GovertTeuniszoon Flinck was a Dutch painter of the Dutch Golden Age.
Jacob Adriaensz Backer was a Dutch Golden Age painter. He produced about 140 paintings in twenty years, including portraits, religious subjects, and mythological paintings. In his style, he was influenced by Wybrand de Geest, Rubens and Abraham Bloemaert. He is also noted for his drawings of male and female nudes.
Jürgen Ovens, also known as Georg, or Jurriaen Ovens whilst in the Netherlands, was a portrait painter and art-dealer from North Frisia and, according to Arnold Houbraken, a pupil of Rembrandt. He is best known for his painting in the city hall of Amsterdam and paintings for the Dukes of Holstein-Gottorp for whom he worked for more than 30 years, also as an art dealer.
Jan de Baen was a Dutch portrait painter who lived during the Dutch Golden Age. He was a pupil of the painter Jacob Adriaensz Backer in Amsterdam from 1645 to 1648. He worked for Charles II of England in his Dutch exile, and from 1660 until his death he lived and worked in The Hague. His portraits were popular in his day, and he painted the most distinguished people of his time.
Wybrand Simonsz. de Geest was a Dutch Golden Age portrait painter from Friesland.
Joris van Schooten (1587–1651) was a Dutch Golden Age painter and the uncle of the Leiden mathematician Frans van Schooten.
Adriaen Backer was a Dutch Golden Age portrait painter, active in Amsterdam and Haarlem.
Lambert Jacobsz, also Lambert Jacobsz. or Lambert Jacobszoon, was a Dutch Golden Age painter and preacher.
Gerrit or Gerard Pietersz van Zijl, also van Zyl / Zyll or Geerards was a Dutch Golden Age painter of portraits and genre scenes.
Pieter Feddes van Harlingen (1586–1623), was a Dutch Golden Age painter.
Jan van Noordt, was a Dutch Golden Age painter.
Pieter Jacobsz. de Valck (1584–1625) was a Dutch Golden Age painter.
Jan Willemszoon van der Wilde, was a Dutch Golden Age painter.
The Kloveniersdoelen was a complex of buildings in Amsterdam which served as headquarters and shooting range for the local schutterij. The companies of kloveniers were armed with an early type of musket known as an arquebus, known in Dutch as a bus, haakbus or klover, hence the name kloveniers.
Lambert Bidloo, of Amsterdam, was by religion, a Zonist Mennonite, by profession, an apothecary and botanist and by passion, a man of letters and translator. After a solid education in classical letters and a period of apprenticeship, Lambert joined the apothecaries' and surgeon's guild overseeing standards and education at the Collegium Medicum. In 1688, he became the director of this institution, and, along with associates and collaborators, botanist Jan Commelin and anatomist Frederik Ruysch he had a hand in its herbalist Hortus Medicus flowering into the global Hortus Botanicus (Amsterdam) of today. His various learned works in Latin and Dutch deal with plants, with Mennonite religious issues and with different historical themes, contemporary, biblical and literary. Among these Bidloo is best known for the curious Panpoeticon Batavum,, a figurative and visual poet's gallery of Golden Age Dutch literature. This he produced as a joint undertaking with the noted artist and art historian Arnold Houbraken who was then also launching The Great Theatre of Dutch Painters,.
| International | |
|---|---|
| National | |
| Artists | |
| People | |
