Peter van Aelst, Peeter van Aelst or Pieter van Aelst was a Flemish genre painter and draughtsman active in Antwerp from 1644 to 1654. [1]
Peter van Aelst, Peeter van Aelst or Pieter van Aelst was a Flemish genre painter and draughtsman active in Antwerp from 1644 to 1654. [1]
There are no records about the life and training of this artist active in Antwerp in the mid-17th century.
He is currently known for only one work attributed to him. It represents the Ommegang in Antwerp. [2] As it was probably painted between 1644 and 1654, this composition was possibly the inspiration for the various interpretations of the subject, which Flemish artists such as Erasmus de Bie and Alexander van Bredael painted at a later date. [3]
Gillis van Coninxloo was a Flemish painter of landscapes who played an important role in the development of Northern landscape art at the turn of the 17th century. He spent the last 20 years of his life abroad, first in Germany and later in the Dutch Republic.
Pieter Coecke van Aelst or Pieter Coecke van Aelst the Elder was a Flemish painter, sculptor, architect, author and designer of woodcuts, goldsmith's work, stained glass and tapestries. His principal subjects were Christian religious themes. He worked in Antwerp and Brussels and was appointed court painter to Charles V, Holy Roman Emperor.
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.
Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries, as well as many continuities with the preceding Early Netherlandish painting. The period spans from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end. Artists drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists.
Ommegang or Ommeganck is the generic name for various medieval pageants celebrated in the Low Countries.
Flemish Baroque painting was a style of painting in the Southern Netherlands during Spanish control in the 16th and 17th centuries. The period roughly begins when the Dutch Republic was split from the Habsburg Spain regions to the south with the Spanish recapturing of Antwerp in 1585 and goes until about 1700, when Spanish Habsburg authority ended with the death of King Charles II. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens, was the artistic nexus, while other notable cities include Brussels and Ghent.
Pieter Thijs, Peter Thijs or Pieter Thys was a Flemish painter of portraits as well as religious and history paintings. He was a very successful artist who worked for the courts in Brussels and The Hague as well as for many religious institutions. His work was close to the courtly and elegant style of Anthony van Dyck and his followers.
Van Aelst is a Dutch and Flemish surname. Notable people with the surname include:
Alexander van Bredael was a Flemish painter known for Italianate landscapes and genre scenes of fairs, cattle markets and villages. He was a prominent member of the Antwerp artistic family van Bredael.
Pieter van Mol or Peter van Mol was a Flemish painter known for his history paintings of religious subject matter, and to a lesser extent for his allegorical compositions, genre scenes and portraits. His style was profoundly influenced by Rubens, Abraham Janssens and Artus Wolffort. He was court painter to the King and Queen of France.
Peter van Aelst, Peeter van Aelst or Pieter van Aelst is the name of a number of artists including:
Gaspar Peeter Verbruggen the Elder was a Flemish painter of flowers and garland paintings.
Pieter Meulener or Peter Meulenaer, Antwerp), was one of the leading Flemish painters of battle scenes in the mid-17th century. He also painted landscapes with genre scenes.
The Master of Hoogstraeten is the Notname given to a Flemish painter or a collective of painters active in Antwerp in the early 16th century. The master created principally religious paintings and is considered a member of the Antwerp Mannerists.
The Master of the Prodigal Son, was the notname given to a Flemish painter and designer of tapestries and stained glass. He was active in Antwerp where he operated a large workshop between 1530 and 1560. He painted religious subjects, landscapes, genre scenes and allegories. He is regarded as a leading master of Flemish Mannerism in the sixteenth century.
Erasmus de Bie (1629–1675) was a Flemish Baroque painter known for his city views and genre scenes. He depicted several lively scenes of large public celebrations in his hometown of Antwerp. It is not clear whether the views of Italianate cities and landscapes attributed to him are the work of Adriaen de Bie, a Flemish painter from Lier who worked in Italy for a while.
Peter van Aelst, Peeter van Aelst or Pieter van Aelst is the name of a number of artists including:
Jan Willems was a Flemish painter of religious works as well as a polychromer and a designer of large figures used in processions. He was the city painter of Leuven where he spent his entire known career.
Maarten Peeters or Marten Peeters van Ghelle was a Flemish painter, print publisher and dealer active in Antwerp.
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