| Portrait of a Man | |
|---|---|
 | |
| Artist | Maarten van Heemskerck |
| Year | 16th century |
| Type | oil painting |
| Dimensions | 69 cm× 52 cm(29.5 in× 20+4⁄7 in) |
| Location | Royal Museum of Fine Arts, Antwerp |
Portrait of a Man is an oil painting attributed to the Dutch painter Maarten van Heemskerck. The painting is kept in the Royal Museum of Fine Arts, in Antwerp. [1] [2] [3]
The man is depicted half-length, with his arms resting on a table edge, looking at the viewer head-on. [3] [2]
He is dressed in a sober black cloth suit. The man wears a close-fitting jerkin and a high, closed collar. Underneath, a white shirt with a frown collar is visible. The man also wears a beret. [3] [2]
His expression seems serious, but not quite so. The fact that the man is holding, not wearing, his gloves, which are worn when meeting important people and taken off as a gesture of courtesy and respect, enhance the man's friendliness. By holding his gloves, the man shows both respect and that he wants to be respected. [3] [2]
Jan van Scorel was a Dutch painter, who played a leading role in introducing aspects of Italian Renaissance painting into Dutch and Flemish Renaissance painting. He was one of the early painters of the Romanist style who had spent a number of years in Italy, where he thoroughly absorbed the Italian style of painting. His trip to Italy coincided with the brief reign of the only Dutch pope in history, Adrian VI in 1522–23. The pope made him a court painter and superintendent of his collection of antiquities. His stay in Italy lasted from 1518 to 1524 and he also visited Nuremberg, Venice and Jerusalem. Venetian art had an important impact on the development of his style.
Maarten van Heemskerck or Marten Jacobsz Heemskerk van Veen was a Dutch portrait and religious painter, who spent most of his career in Haarlem. He was a pupil of Jan van Scorel, and adopted his teacher's Italian-influenced style. He spent the years 1532–36 in Italy. He produced many designs for engravers, and is especially known for his depictions of the Wonders of the World.
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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.
The Museum of Fine Arts an art museum in Ghent, Belgium, is situated at the East side of the Citadelpark.
The Man of Sorrows is a 1532 painting by the Dutch Golden Age painter Maarten van Heemskerck in the collection of the Museum of Fine Arts, Ghent. It shows the Man of Sorrows.
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Claes Jacobsz van der Heck, was a Dutch Golden Age painter.
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Portrait of Maria Pietersdochter Olycan is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1638, now in the São Paulo Museum of Art. It is considered a pendant to the portrait of Maria's husband Andries van Hoorn.
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Maria Magdalene is a circa 1530 oil on panel painting by the Dutch renaissance artist Jan van Scorel in the collection of the Rijksmuseum.
The Diptych of an elderly couple is a pair of bust-length wedding portraits by Hans Memling, which were formerly attached with pegs and were split some time before they were sold separately in 1894. One is in the collection of the Gemäldegalerie and the other is in the collection of the Louvre. When viewed side by side the landscape background joins up to form a whole.
Crucifixion is a 1543 polyptych by the Dutch Mannerist painter Maarten van Heemskerck in Linköping Cathedral consisting of a taller triptych above a shorter triptych, resulting in six panels in the front and four in the back.
Lamentation of Christ is a c. 1540 panel painting of the common subject of the Lamentation of Christ by the Dutch Renaissance painter Maarten van Heemskerck in the Museum of Fine Arts, Budapest.
Portrait of a Man, probably a Member of the Van Beresteyn Family is an oil-on-canvas 1632 portrait painting by Rembrandt. It shows a man with a lace collar, which was a new fashion in the 1630s replacing older-styled millstone collars. It is pendant to Portrait of a Woman, probably a Member of the Van Beresteyn Family, and both are in the collection of the Metropolitan Museum of Art.
Self-Portrait is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The painting measures 25.2 x 20.9 inches and is part of the permanent collection of the Royal Museum of Fine Arts in Antwerp. This painting is one of the last portraits by Ingres.
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