Jan van Haelbeck or Jan van Haelbeeck [1] (fl 1600 - 1630) was a Flemish engraver. He was mainly active in Paris in the first 30 years of the 17th century and helped introduce copper engraving as a technique in French printing. He worked on various publication projects on religious and worldly subjects and portraits. [2]
Very little is known about the life of Jan van Haelbeck. It is known he was active in Paris roughly between 1600 and 1630. [2] In Paris, he was part of a group of émigré Flemish engravers who helped transform French engraving practices. The Flemish engravers popularized copper engraving as a technique in French printing. They also introduced certain compositional schemes and subjects such as portraiture familiar to Flemish printmakers into French publishing. [3]
Van Haelbeck is known to have had a relationship with the Copenhagen royal court and is sometimes referred to as the court artist of King Christian IV of Denmark. He was one of the principal artists who contributed the illustrations to Italian fencing master Salvator Fabris' Lo Schermo, overo Scienza d’Arme, which was published in 1606 in Copenhagen with royal support. The publication was the first publication made with copperplates in Denmark. [4] It is possible that van Haelbeck was visiting or working in Copenhagen around 1624. [2]
Jan van Haelbeck is assumed to have died in Paris around 1630. [2]
Jan van Haelbeck was formerly believed to be identical with the painter who is known as the Monogrammist JVH as that artist’s paintings were only signed with the monogram JVH. The Monogrammist JVH was responsible for four religious paintings now in the collection of the Museum Catharijneconvent. It is now clear that the two artists are not identical. [5]
Jan van Haelbeck worked on many publication projects. Some of these were original creations. Others were re-engravings of popular works published earlier. An example of the latter is the publication Ecclesiae Militantis Triumphi published by Jean Leclerc IV in Paris in the early 1600s. This publication was a reworking in laterally reversed format of a 1585 Jesuit publication, which comprised 32 prints engraved by Giovanni Battista de'Cavalieri depicting in graphic detail the martyrdoms of various saints. [6]
It is believed that Jan van Haelbeck made the engravings for the Livre de portraiture d’Annibal Carrache, a study book on portrait drawing by Annibale Carracci which was published in 1667 by François de Poilly in Paris. [7]
Jan van Haelbeck engraved a series of prints, which were published in Paris by Jean Leclerc IV around 1615 under the title Énigme joyeuse pour les bons esprits. The images created by van Haelbeck are accompanied by verses in French that are full of double-entendres of an obscene nature. Van Haelbeck’s series was very popular and was regularly reprinted as illustrations in publications of an indelicate sort that were principally marketed to Europe’s university students. Versions of various of the engravings appear, for instance, in a number of tomes by German printmaker Peter Rollos the Elder, published in Germany between 1619 and the late 1630s. [8]
Jan van Haelbeck produced a number of portraits including of Henri IV of France and the Venetian doge Leonardo Donato. [9]
This article contains information about the literary events and publications of 1606.
Philip Fruytiers (1610–1666) was a Flemish Baroque painter and engraver. Until the 1960s, he was especially known for his miniature portraits in watercolor and gouache. Since then, several large canvases signed with the monogram PHF have been ascribed to him. These new findings have led to a renewed appreciation for his contribution to the Antwerp Baroque.
The Sadeler family were the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria.
Events from the year 1570 in art.
Salvator Fabris (1544-1618) was an Italian fencing master from Padua. During his life he taught in various European countries, most notably in Denmark where he was the fencing instructor of King Christian IV. It was during his time in Copenhagen that he published his treatise on rapier fencing, Lo Schermo, overo Scienza d’Arme, in 1606. The treatise became a fencing bestseller around Europe, and was reprinted until 1713 and translated into several languages, notably into German, and again in 2005, into English.
Events from the year 1665 in art.
Events from the year 1628 in art.
Events from the year 1588 in art.
Events from the year 1550 in art.
Events from the year 1584 in art.
Crispijn van de Passe the Elder, or de Passe was a Dutch publisher and engraver and founder of a dynasty of engravers comparable to the Wierix family and the Sadelers, though mostly at a more mundane commercial level. Most of their engravings were portraits, book title-pages, and the like, with relatively few grander narrative subjects. As with the other dynasties, their style is very similar, and hard to tell apart in the absence of a signature or date, or evidence of location. Many of the family members produced their own designs, and have left drawings.
Adriaen Frans Boudewijns was a Flemish landscape painter, draughtsman and etcher. He was known mainly for his landscapes with trees, Italianate landscapes with architecture, rivers and villages, city, coast and country views and architectural scenes.
Jean Boulanger, a French line-engraver, son of the painter Olivier Boulanger and cousin to the painter of the same name, was born at Amiens in 1608 and baptized in Troyes in Champagne on 24 January 1608; he had five children with Marie Judon. He was documented in Paris in 1645 and resided in the parish of Saint-Etienne-du-Mont.
Joos van Winghe, Jodocus a Winghe or Jodocus van Winghen (1544–1603) was a Flemish painter and print designer. He is known for his history paintings, portraits, allegories and genre scenes, including merry companies. He worked in Brussels as court painter and left Flanders after the Fall of Antwerp in 1584. He then worked in Frankfurt for the remainder of his career. In Germany he enjoyed the patronage of Holy Roman emperor Rudolf II and adopted a more clearly Mannerist style.
Coenraed Lauwers or Coenraad Lauwers, latinized as Coenradus Lauwers(1632 in Antwerp – 1685 in Antwerp) was a Flemish engraver, etcher and print seller. He was mainly active as a reproducer of works of leading Antwerp painters.
François Poilly, or François de Poilly, was a French engraver.
Antoon van der Does or Antoni van der Does was a Flemish engraver and print maker who was active in Antwerp. He is mainly known as a reproductive artist.
Jean Le Clerc was a French geographer, copperplate engraver, printer and publisher, mainly active in Paris. He was also known as Jean Le Clerc IV, Jean Le Clerc le fils, Jean Le Clerc le jeune, Joannes Le Clerc, Johannes Le Clerc, Johannes Clericus and Jean Leclerc. He was born into the French Wars of Religion, which only ended when he was thirty-eight, and as a Huguenot he fled Paris in 1588 and spent a year elsewhere in France. He gained royal concessions under Henry IV of France and Louis XIII of France and developed a huge publishing business, collaborating with several engravers and publishing maps, images of contemporary events and other works, including an atlas of France. His wife was Frémine Ricard or Richard.
Crispijn (van) de Passe, also known as Crispijn (van) de Passe the Younger or Crispijn (van) de Passe (II), was a Dutch Golden Age engraver, draughtsman and publisher of prints. He was a member of the large printmaking Van de Passe family, son of the engraver and print publisher Crispijn van de Passe the Elder.
Noah's Ark is a tempera painting by Theodore Poulakis. Poulakis was a Greek Baroque painter and teacher. He was a member of both the Late Cretan School and the Heptanese School. He is often regarded as the father of the Heptanese School. He was active from 1635 to 1692. By the age of 24, he was living in Venice. He stayed in the city for thirteen years. He was involved in local politics. He frequently traveled all over the Ionian Islands and settled in Corfu. He also regularly returned to Venice. Over 130 of his paintings have survived and can be found all over the world.
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