Jan Pauwel Gillemans the Younger [1] (Antwerp, baptized 3 September 1651 - Antwerp, buried 20 March 1704) was a Flemish still life painter. He worked in a range of still life genres including flower and fruit still lifes, banquet still lifes, pronkstillevens and hunting pieces. He collaborated with figure painters to create landscapes which combined a mythological or allegorical scene with a still life. He worked and lived in Antwerp, Middelburg, London and Amsterdam. [2]
Jan Pauwel Gillemans the Younger was born in Antwerp as the son of Jan Pauwel Gillemans the Elder and Paulina Uyt den Eeckhout. His father was a prominent still life painter. [3] He studied with his father and from the guild year 1665-1666 he was formally enrolled at the Guild of Saint Luke of Antwerp as a pupil of the leading Antwerp still life painter Joris van Son who was also a good friend of his father. [3] [4]
Jan Pauwel Gillemans the Younger became a master of the Guild of Saint Luke of Antwerp as the son of a member in the Guild year 1673-1674. [5] In the same year a Peter Mathys Gillemans also became a master of the Guild of Saint Luke of Antwerp as the son of a member. It is believed that this Peter Mathys who became a successful flower painter was Jan Pauwel's brother. [6]
Gillemans worked in Middelburg in the Dutch Republic in 1675. That year he was fined for working as an artist without being registered at the local guild of Middelburg. He is believed to have worked in London in 1678 as can be deduced from the inscription 'Londini' on his Still life with fruit by a fountain in a landscape dated 1673 or 1678 (With art dealer Hoogsteder & Hoogsteder, The Hague in 2004, artwork no. 59038). Gillemans was back in Antwerp from 1680. [2] He married late in life on 3 March 1693. His wife was Isabella Maria van den Eynde, daughter of the local sculptor Norbert van den Eynde. One son was born from the union in 1695. His wife died on 6 October 1697. Not long thereafter, on 22 March 1698 he remarried with the wealthy widow Joanna van Hellefort with whom he had two more sons. [3]
In 1696 Gillemans was elected dean of the Guild but he bought off his duties by a payment to the Guild. [4] In 1702 the artist is recorded back in Middelburg where he became a member of the local Guild of Saint Luke. He is subsequently recorded in Amsterdam where he died in 1704. [2] Whether or not he died by drowning in the canals of Amsterdam after drinking too much as stated by the early biographer Jacob Campo Weyerman in The Lives of Dutch painters and paintresses (third volume, 1729 – 1739) is unclear. Weyerman's anecdotes are often fictitious. [7]
Jan Pauwel Gillemans the Younger was a still life painter mainly of fruit and flower still lifes. His early works were banquet style still lifes. His later, large compositions with fruit still lifes in outdoor settings often included scenes of animals, putti or mythological figures and were created in collaboration with figure painters. He may also have painted garland paintings. [8]
His early works are close to that of his father and typically depict still lifes of various objects placed on a tabletop or ledge against a neutral background. This type of painting was particularly popular among Antwerp still life painters who had come under the influence of Jan Davidszoon de Heem, a Dutch still life painter who was active in Antwerp from the mid-1630s. Jan Pauwel's father and Joris van Son who were his teachers both produced similar works. Generally speaking, the works of Jan Pauwel the Younger were more decorative in character than those of his father, who had a more limited colour palette. [7]
His work developed away from the style of his father towards a more decorative style, a trend common in Flemish still life painting in the final decades of the 17th century. [9] Under the influence of the French Classical movement the dramatic realism of the early Baroque was replaced by an idealised, decorative vision of nature and reality. These compositions sought to evoke an Arcadian vision of an unspoiled and harmonious nature, uncorrupted by civilization. [7] Typical for his work is the gold-colored lighting of the colors as well as the detailed reproduction of the different fruit varieties. [10]
Jan Pauwel regularly placed his large fruit still lifes in a landscape or architectural setting with columns and fountains. For some of these paintings he worked together with specialists such as Pieter Rijsbraeck who was a landscape painter and Peter Ykens who was a figure painter. The identity of the collaborators on his paintings is often unknown. [7] Gillemans was capable of painting the background landscapes for his still lifes himself. When he did, he would paint the trees, foliage and sky with more accuracy than Rijsbraeck. [11]
It is not clear whether like his father, Gillemans the Younger also created 'garland paintings', the type of still life invented in early 17th century Antwerp by Jan Brueghel the Elder. Paintings in this genre typically show a flower or, less frequently, fruit garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. The figure painter would take care of the figures inside the cartouche while the still life painter was responsible for the flower or fruit garland. [12] A pair of two garland paintings on copper have been attributed to Gillemans the Younger: the Stone niche decorated with fruit and flowers with insects surrounding the Virgin and Child and the Stone niche decorated with fruit and flowers with insects surrounding the Holy Family (At Mercier & Cie, Lille (France) on 26 June 2016, lot 210). While these paintings are quite similar to his father's works in this genre, they have been attributed to the son Jan Pauwel the Younger because they display the more typical traits of his work in their colourful and decorative aspects. [8]
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.
Hendrick van Balen or Hendrick van Balen I was a Flemish Baroque painter and stained glass designer. Hendrick van Balen specialised in small cabinet pictures often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent, religious subjects. The artist played an important role in the renewal of Flemish painting in the early 17th century and was one of the teachers of Anthony van Dyck.
Frans Ykens was a Flemish still life painter active in Antwerp and Brussels in the 17th century. He is mainly known for his flower pieces and fruit still lifes and also painted banquet pieces, pronkstillevens, garland paintings and larger game pieces.
Ambrosius Brueghel was a Flemish painter from the famous Brueghel family of artists. Less prolific and less well-known than a number of his family members, his oeuvre is not very well understood and is believed to comprise Baroque still lifes, garland paintings as well as landscapes.
Joris van Son or Georg van Son was a Flemish still life painter who worked in a number of sub-genres but is principally known for his still lifes of fruit. He also painted flowers, banquets, vanitas still lifes and pronkstillevens. He is known to have painted fish still lifes representing the Four Elements, and also collaborated with figure artists on 'garland paintings', which typically represent a devotional image framed by a fruit or flower garland.
Jan van Balen was a Flemish painter known for his Baroque paintings of history and allegorical subjects. He also painted landscapes and genre scenes.
Willem Gabron or Guiliam Gabron, was a Flemish Baroque still life painter, who worked in a wide range of genres including fruit pieces, vanitas still lifes, flower still lifes, game pieces and breakfast pieces. Gabron was also a gifted animalier and often included living animals in his still life scenes. He initially worked in a monochrome style but developed a more colourful palette after a long stay in Italy.
Jacob Denys or Jacob Denys (II) (1644–1708) was a Flemish Baroque painter. His known works are mainly portraits. He also painted landscapes and history paintings. After training in Antwerp, he worked for a long time in Italy where he enjoyed the patronage of Duke of Mantua, Ferdinando Gonzaga, and the Duke of Tuscany, Cosimo III de' Medici.
Gysbrecht Thys or Gysbrechts Thys was a Flemish painter active in Antwerp known for his religious and mythological works as well as for his nudes. He also painted landscapes. Very few paintings have been attributed to the artist to date.
Jan Pauwel Gillemans the Elder was a Flemish goldsmith and still life painter who is known for his fruit still lifes, flower pieces, vanitas still lifes and pronkstillevens.
Jan Frans van Son or Frans van Son was a Flemish still life painter. The son of the prominent Antwerp still life painter Joris van Son, he trained with another prominent still life artist Jan Pauwel Gillemans the Elder. He left for England at a young age and had a successful career in London. He painted flower pieces, fruit still lifes and banquet still lifes.
Jan Baptist Bosschaert or Jan Baptist Bosschaert the Younger was a Flemish still life painter who is principally known for his decorative still lifes with flowers. He collaborated with figure artists on compositions which combined allegorical or mythological scenes with a still life element. He was active in Antwerp.
Gaspar Peeter Verbruggen the Elder was a Flemish painter of flowers and garland paintings.
Gaspar Peeter Verbruggen or Gasparo Pedro Verbruggen was a Flemish still life painter who is principally known for his decorative still lifes with flowers and fruit. He collaborated with figure artists on compositions which combined figures with a still life element. He was active in Antwerp and The Hague.
Peter Ykens, was a Flemish painter mainly known for his history paintings and portraits. He regularly collaborated with specialist still painters and landscape artists for whose works he provided the staffage.
Simon Hardimé (1672–1737) was a Flemish painter of mixed Walloon and Flemish descent. He is known for his paintings of flowers. He trained in Antwerp and later worked for a few years in the Dutch Republic. He then moved to London where he remained the rest of his life. His patrons included the bourgeoisie in Brussels and Antwerp and aristocrats in the Netherlands and England.
Joannes Hermans, called Monsú Aurora, was a Flemish painter of animals and still lifes of game, fruit and flowers who worked in Italy and Antwerp where he contributed to the development of the Baroque still life genre.
Jan Peeter van Bredael the Elder or Jan Pieter van Bredael the Elder was a Flemish painter, art restorer and art dealer. He is known for his still lifes of flowers and fruits, game and Italianate landscapes. He was a member of the prominent artistic family van Bredael from Antwerp.
Pieter Hardimé was a Flemish painter known for his paintings of flowers. He trained in Antwerp and later moved to the Dutch Republic where he worked in The Hague. He was active as a decorative painter of flowers for wall and ceiling decorations, often in collaboration with Mattheus Terwesten.
Maria Tassaert was a Flemish still life painter active in Antwerp. She had a short career during which she painted garland paintings, a type of still life painting comprising a garland of flowers around a devotional or other image. She was a member of the Tassaert family of artists, which was active in the Habsburg Netherlands, France, Prussia and England in the 17th and 18th centuries.
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