Johannes or Jan Luyken (April 16, 1649 – April 5, 1712) was a Dutch poet, illustrator, and engraver. [1]
Johannes or Jan Luyken (April 16, 1649 – April 5, 1712) was a Dutch poet, illustrator, and engraver. [1]
He was born and died in Amsterdam, where he learned engraving from his father Kaspar Luyken. [1] He married at 19 and had several children, including renowned engraver Kasparus Luiken. [1] At age 26 Luyken converted to the Mennonite church, which inspired him to write moralistic poetry. [1]
Luyken illustrated the 1685 edition of the Martyrs Mirror with 104 copper etchings. Thirty of these plates survive and were part of The Mirror of the Martyrs exhibit. [2]
He also published Het Menselyk Bedryf ("The Book of Trades") in 1694, which contains numerous engravings of 17th-century trades by Luiken and his son Caspar (Caspaares).
Joris-Karl Huysmans' anti-hero Des Esseintes in À rebours was an admirer of Luyken's engravings and had prints from his Religious Persecutions hung in his boudoir. He described them as "a collection of appalling plates displaying all the tortures which religious fanaticism has invented." Des Esseintes was enthralled not just by Luyken's graphic depictions but his ability to reconstruct times and places in his works.
Media related to Jan Luyken at Wikimedia Commons
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Martyr's Mirror or The Bloody Theater, first published in Holland in 1660 in Dutch by Thieleman J. van Braght, documents the stories and testimonies of Christian martyrs, especially Anabaptists. The full title of the book is The Bloody Theater or Martyrs Mirror of the Defenseless Christians who baptized only upon confession of faith, and who suffered and died for the testimony of Jesus, their Saviour, from the time of Christ to the year A.D. 1660. The use of the word defenseless in this case refers to the Anabaptist belief in non-resistance. The book includes accounts of the martyrdom of the apostles and the stories of martyrs from previous centuries with beliefs similar to the Anabaptists.
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Jan Claudius de Cock was a Flemish painter, sculptor, print artist and writer. De Cock produced both religious and secular sculpture on a small as well as monumental scale. De Cock completed many commissions in the Dutch Republic. He worked on decorations for the courtyard of the Breda Palace for William III, King of England, Ireland, and Scotland and stadtholder. He is credited with introducing neoclassicism in Flemish sculpture. He was a prolific draughtsman and designed prints for the Antwerp publishers. As a writer, he wrote a poem about the 1718 fire in the Jesuit Church in Antwerp and a book of instructions on the art of sculpture.
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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,.
