Thomas Wijck | |
|---|---|
 19th century portrait of Thomas Wijck by Adolphe Frédéric Nett | |
| Born | 1616 |
| Died | 1677 |
| Known for | Painting |
| Movement | Dutch Golden Age painting |
Thomas Wijck (also Thomas Wijk, or Thomas Wyck; 1616–1677) was a Dutch painter of port views and genre paintings.
Wijck was born into an artist family and received his training from his father. He journeyed to Italy, presumably by 1640, the year in which a ‘Tommaso fiammingo, pittore’ (Thomas the Fleming, painter) is documented as residing in Rome in the Via della Fontanella. Although this evidence of his residence in Rome around this time has been questioned, [1] a number of his pictures depict scenes in and around Rome which would indicate a visit to the city at some point. [2] He also resided in the environs of Naples, where he executed many sketches which he subsequently worked up into drawings of coast views. [3]
In 1642 Wijck returned to the northern Netherlands, where he became a member of the Haarlem Guild of St. Luke. [1] In 1660 he was appointed Dean of the Haarlem Guild.
He went to England about the time of the Restoration and was much employed. He was followed there by his son and pupil Jan Wyck, who remained in Britain for the rest of his career and played an important role in the development of English sporting painting. Thomas Wyck was also the teacher of the Haarlem painter Jan van der Vaart, who later also immigrated to England.
He died in Haarlem in August 1677. Pieter Mulier II was a follower of his style.
He excelled in Italianate paintings of shipping and seaports, populated with many figures, very frequently odd characters such as alchemists and misers. His style resembles that of the loose group of Dutch and Flemish genre painters working in Rome who are called the 'Bamboccianti' and were influenced by the genre paintings of Pieter van Laar. He also painted fairs, public markets, and the interiors of chemists’ laboratories.
Thomas Wijck's painting of an alchemist is said to have influenced Joseph Wright of Derby's similar picture. Both pictures contain similar vaulting, a confusion of objects and an assistant who is singled out by the light. [4]
Thomas Wijck painted a View of London before the fire, and another of the north bank of the Thames, from Southwark, exhibiting the mansions of the nobility in the Strand. He also painted the “Fire of London” more than once.
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.
Nicolaes Pieterszoon Berchem was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces.
David Teniers the Younger or David Teniers II was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history painting, genre painting, landscape painting, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians.
Jan Fijt, Jan Fijt or Johannes Fijt was a Flemish Baroque painter, draughtsman and etcher. One of the leading still life and animaliers of the 17th century, he was known for his refined flower and fruit still lives, depictions of animals, garland painting and lush hunting pieces, and combinations of these subgenres, such as game, flowers and fish under a festoon of flowers. He was probably the master of the prominent Pieter Boel, who worked in a style very similar to that of Fyt.
J(oh)an and Jacob van Huchtenburg were two Dutch Golden Age painters in the second half of the seventeenth century. Both brothers were natives of Haarlem, moved to Paris, but died in Amsterdam. The main source about their lives is from Arnold Houbraken. Some of the information from the 19th century is contradictive.
Pieter Bodding van Laer was a Dutch painter and printmaker. He was active in Rome for over a decade and was known for genre scenes, animal paintings and landscapes placed in the environs of Rome.
Gonzales Coques was a Flemish painter of portraits and history paintings. Because of his artistic proximity to and emulation with Anthony van Dyck he received the nickname de kleine van Dyck. Coques was also active as an art dealer.
Egbert van Heemskerck, or Egbert Jaspersz van Heemskerk (1634–1704) was a Haarlem Dutch Golden Age painter of genre works who moved to London in the 1670s and died there in 1704. He is known for popular comical and satirical works, a few of which were engraved and printed during his lifetime, thanks to his patron John Wilmot, 2nd Earl of Rochester.
Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history roughly spanning the 17th century, during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence.
The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.
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.
Balthasar van den Bossche (1681–1715) was a Flemish painter who is mainly known for his wide range of genre subjects and occasional portraits.
John Wick was a Dutch baroque painter, best known for his works on military subjects. There are still over 150 of his works known to be in existence.
Pieter de Molijn was a Dutch Golden Age painter and engraver of English birth and Flemish descent.
Pieter Bout was a Flemish painter, draughtsman and etcher. He is known mainly for his landscapes, city, coast and country views and architectural scenes painted in a style reminiscent of earlier Flemish masters such as Jan Brueghel the Elder.
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Wilhelm Schubert van Ehrenberg or Willem Schubart van Ehrenberg (also: Wilhem Schubert von Ehrenberg or Wilhem Schubert van Ehrenberg was a Flemish painter mainly active in Antwerp who specialized in architectural paintings including of real and imaginary church interiors, Renaissance palaces and picture galleries.
Jan van der Vaart or Jan van der Vaardt was a Dutch painter and draughtsman of portraits, landscapes and trompe-l'œil paintings and a mezzotint artist who was active in England for most of his career. He was also an art restorer and art collector.
Jan Thomas van Kessel was a Flemish painter and draughtsman. He was principally a genre painter who created scenes of peasants, wedding festivals and interiors of inns. He also painted some portraits and possibly also religious scenes. He was a member of the important van Kessel family of artists, which was related by marriage to the Brueghel family of artists.
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