Related Research Articles
Jan Brueghelthe Younger was a Flemish Baroque painter. He was the son of Jan Brueghel the Elder, and grandson of Pieter Bruegel the Elder, both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the Habsburg Netherlands. Taking over his father's workshop at an early age, he largely painted the same subjects as his father in a style which was similar to that of his father. He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting. He regularly collaborated with leading Flemish painters of his time.
Jacob (Jacques) Jordaens was a Flemish painter, draughtsman and a designer of tapestries and prints. He was a prolific artist who created biblical, mythological, and allegorical compositions, genre scenes, landscapes, illustrations of Flemish sayings and portraits. After the death of Rubens and Anthony van Dyck, he became the leading Flemish Baroque painter of his time. Unlike those illustrious contemporaries he never travelled abroad to study the Antique and Italian painting and, except for a few short trips to locations elsewhere in the Low Countries, he resided in Antwerp his entire life. He also remained largely indifferent to Rubens and van Dyck's intellectual and courtly aspirations. This attitude was expressed in his art through a lack of idealistic treatment which contrasted with that of these contemporaries.
Jan Snellinck or Jan Snellinck (I) (c. 1548 – 1 October 1638) was a Flemish painter, draughtsman and designer of tapestries, prints and frescoes. He is known for his large altarpieces and was also recognized as a leading battle painter in his time. Snellinck was active as an art dealer and art collector.
Cornelis de Wael was a Flemish painter, engraver and merchant who was primarily active in Genoa in Italy. He is known for his genre paintings, battle scenes, history paintings and still lifes. Through his art work, support for Flemish painters working in Italy and role as an art dealer, he played an important role in the artistic exchange between Italy and Flanders in the first half of the 17th century. His work also had an influence on local painters such as Alessandro Magnasco, particularly through his scenes of despair and irony.
Pieter Meert was a Flemish Baroque painter known for his portraits and genre paintings.
Niccolò Boldrini (c.1500–c.1566) was an Italian engraver of the Renaissance. He was frequently confused with Nicola Vicentino. Boldrini was an engraver on wood, born at Vicenza in the early 16th century, and still living in 1566. His prints are chiefly after Titian, who may have been his master. He engraved John Baron de Schwarzenburg after Dürer and the following prints after Titian:
Lucas de Wael was a Flemish painter, art dealer and merchant. He was born in Antwerp and worked for some time in Genoa in Italy before returning to Antwerp. Here he continued his artistic and commercial activities. He is known for his landscapes and genre scenes.
Jan de Wael or Hans de Wael or Jan Baptist de Wael (1558–1633) was a Flemish painter and engraver who mainly painted religious works and landscapes.
Pieter de Jode II or Pieter de Jode the Younger (1606–1674) was a Flemish Baroque printmaker, draughtsman, painter and art dealer. A scion of an important dynasty of printmakers active in Antwerp, he created many prints after the works of leading painters and was a close collaborator of Anthony van Dyck for whom he engraved many portraits.
Jean Audran (1667–1756) was a French engraver and printmaker. The brother of Benoit, and the third son of Germain Audran, he was born at Lyons in 1667. After learning the rudiments of the art under his father, he was placed under the care of his uncle, the famous Gérard Audran, in Paris. Before he was twenty years of age he displayed uncommon ability, and became a very celebrated engraver. In 1706 he was made engraver to the king, with a pension and apartments at the Gobelins. The hand of a great master is discernible in all his plates; and without having attained the extraordinary perfection of Gérard Audran, his claim to excellence is very considerable. He died in 1756. His principal prints are:
Hendrik Bary was an eminent Dutch engraver.
Pieter Nason was a Dutch painter. He became a member of the Guild of Painters of The Hague in 1639, and in 1656 was one of the forty seven members who established the Pictura Society. From a MS. by Pieter Terwesten, it appears not improbable that Nason was a pupil of Jan van Ravensteyn; and it is believed that his name has been effaced from pictures since attributed to Mierevelt, Moreelse, and above all to Ravensteyn. It is certain that he painted the portrait of Prince Mauritz, Governor of the Brazils, engraved by Houbraken, and those of Charles the Second of England, engraved by C. Van Dalen and Sandrart, and of the Grand Elector. At Berlin there is a full-length portrait, dated 1667, of the latter, by Nason; also a still life, representing gold, silver, and glass vessels, likewise a portrait by him signed and dated 1670. There are others at Copenhagen and at Rotterdam. The date of his death is not known, but his life was long. Redgrave gives the initial of his Christian name wrongly as R.
Petrus, or Pieter de Jode I or Pieter de Jode the Elder, was a Flemish printmaker, draughtsman, publisher and painter active principally active in Antwerp. He was active as a reproductive artist who created many prints after the works of leading painters and was in addition a prolific designer of prints for Antwerp publishers.
Pieter de Bailliu was a Flemish engraver.
Jan Baptist Francken was supposed to be a painter from the Francken family and/or the son of Sebastian Vrancx, but is now considered to have been an error and to have never existed. The confusion was created by the many painters named Francken, some poor attributions, and a portrait by Anthony van Dyck of a certain Johannes Baptist Franck, aged 32, of whom nothing more is known. He is sometimes said to be the same as Hans Francken, another obscure member of the same family.
Cornelis Galle the Elder, a younger son of Philip Galle, was born at Antwerp in 1576, and was taught engraving by his father. He followed the example of his brother Theodoor in visiting Rome, where he resided for several years and acquired a correctness of design and a freedom of execution in which he greatly surpassed both his father and his brother. After engraving several plates at Rome, he returned to Antwerp, where he carried on the business of a printseller and engraved many plates after the works of his countrymen and his own designs. He became a master of the Antwerp Guild of St Luke in 1610. One of his pupils was Giovanni Florimi of Siena.
Harriet Sarah Loyd-Lindsay, Baroness Wantage, was a British art collector and benefactor.
Gerard de la Vallée was a Flemish painter of landscapes and history paintings. His work was inspired by the great Flemish masters and mainly produced for the export market.
Ferdinand van den Eynde (early 17th century – 1630) was a Flemish art collector, art dealer and merchant. Ferdinand was part of the Van den Eynde family, and brother of the wealthy banker and merchant Jan van den Eynde. He should not be confused with the latter's son, Ferdinand. Ferdinand's collection included paintings by the likes of Pieter van Laer, Paul Bril, Peter Paul Rubens and Jan Miel. Ferdinand van den Eynde is also remembered for being the subject of Duquesnoy's Tomb of Ferdinand van den Eynde.
Martinus or Maarten van den Enden or van den Eynde was a Flemish printer, publisher, bookseller and art dealer who was active in Antwerp in the early 17th century. He was a leading publisher of art works and was the first publisher of Anthony van Dyck's Icones Principum Virorum, a series of prints with half-length portraits of eminent contemporaries. By the middle of the 17th century he was a leading publisher of prints in Antwerp, along with Frans van den Wyngaerde, Gillis Hendricx and Joannes Meyssens.
References
This article incorporates text from a publication now in the public domain : Bryan, Michael (1886). "DE JODE, Arnold". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.- Pieter de JJode at the RKD database
| International | |
|---|---|
| National | |
| Artists | |
| People | |
 | This article about a Flemish painter mainly active between 1581 and 1830 is a stub. You can help Wikipedia by expanding it. |