Jan Lievens: Difference between revisions
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[[File:Cornelis Cornelisz. van Haarlem 01.jpg|thumb|left|[[Democritus|Democriet]] (laughing) & [[Heraclitus|Herakliet]] (crying) by [[Cornelis van Haarlem]], which Lievens copied at 12. (The copy is lost)]] |
[[File:Cornelis Cornelisz. van Haarlem 01.jpg|thumb|left|[[Democritus|Democriet]] (laughing) & [[Heraclitus|Herakliet]] (crying) by [[Cornelis van Haarlem]], which Lievens copied at 12. (The copy is lost)]] |
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According to [[Arnold Houbraken]], Jan was the son of Lieven Hendriksze, a tapestry worker (''borduurwerker''), and was trained by Joris Verschoten. He was sent to [[Pieter Lastman]] in [[Amsterdam]] at ''about the age of 10'' for two full years. After that he began his career as an independent artist, at ''about the age of 12'' in Leiden.<ref name=Houbraken>{{Language icon|nl|Middle Dutch}} [http://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0145.htm Jan Lievensz. biography] in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by [[Arnold Houbraken]], courtesy of the [[Digital library for Dutch literature]]</ref> He became somewhat of a celebrity because of his talent at such a young age. Specifically, his copy of ''Democriet & Herakliet'' by [[Cornelis van Haarlem]] (''illustration''), and a portrait of his mother Machtelt Jans van Noortzant, were admired. This attracted the attention of [[Maurice of Nassau, Prince of Orange]], around 1620, who bought a life-size painting of a young man reading by the light of a turf-fire. He gave this painting in turn to the English Ambassador, who presented it to [[James I of England|James I]]. This was the reason why, when Lievens was 31, he was invited to the British court.<ref name=Houbraken /> When he returned from England via [[Calais]], he settled in [[Antwerp]], where he married Suzanna Colyn de Nole, the daughter of the sculptor Michiel Colyns, on 23 December 1638.<ref name=RKD>[http://www.rkd.nl/rkddb/dispatcher.aspx?action=search&database=ChoiceArtists&search=priref=50003 Jan Lievens] in the [[RKD]]</ref> In this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a ''Continence of Scipio'' was painted for the Leiden city hall.<ref name=Houbraken /> A poem by [[Joost van den Vondel]] was written in honor of a painting (a ''schoorsteenstuk'', or ''over the mantel'' piece) he made for the mayor's office of the Amsterdam city hall (now the [[Royal Palace of Amsterdam]]) in 1661.<ref name=Houbraken /> According to the [[Amsterdams Historisch Museum]], this piece survives and depicts [[Brinno]] raised on a shield with the [[Cananefates]], after a similar painting by [[Otto van Veen]] in 1613.<ref>[http://www.geheugenvannederland.nl/?/nl/items/RIJK01:SK-A-423 Brinio op het schild geheven] Painting by [[Otto van Veen]]</ref> |
According to [[Arnold Houbraken]], Jan was the son of Lieven Hendriksze, a tapestry worker (''borduurwerker''), and was trained by Joris Verschoten. He was sent to [[Pieter Lastman]] in [[Amsterdam]] at ''about the age of 10'' for two full years. After that he began his career as an independent artist, at ''about the age of 12'' in Leiden.<ref name=Houbraken>{{Language icon|nl|Middle Dutch}} [http://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0145.htm Jan Lievensz. biography] in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by [[Arnold Houbraken]], courtesy of the [[Digital library for Dutch literature]]</ref> He became somewhat of a celebrity because of his talent at such a young age. Specifically, his copy of ''Democriet & Herakliet'' by [[Cornelis van Haarlem]] (''illustration''), and a portrait of his mother Machtelt Jans van Noortzant, were admired. This attracted the attention of [[Maurice of Nassau, Prince of Orange]], around 1620, who bought a life-size painting of a young man reading by the light of a turf-fire. He gave this painting in turn to the English Ambassador, who presented it to [[James I of England|James I]]. This was the reason why, when Lievens was 31, he was invited to the British court.<ref name=Houbraken /> When he returned from England via [[Calais]], he settled in [[Antwerp]], where he married Suzanna Colyn de Nole, the daughter of the sculptor Michiel Colyns, on 23 December 1638.<ref name=RKD>[http://www.rkd.nl/rkddb/dispatcher.aspx?action=search&database=ChoiceArtists&search=priref=50003 Jan Lievens] in the [[RKD]]</ref> In this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a ''Continence of Scipio'' was painted for the Leiden city hall.<ref name=Houbraken /> A poem by [[Joost van den Vondel]] was written in honor of a painting (a ''schoorsteenstuk'', or ''over the mantel'' piece) he made for the mayor's office of the Amsterdam city hall (now the [[Royal Palace of Amsterdam]]) in 1661.<ref name=Houbraken /> According to the [[Amsterdams Historisch Museum]], this piece survives and depicts [[Brinno]] raised on a shield with the [[Cananefates]], after a similar painting by [[Otto van Veen]] in 1613.<ref>[http://www.geheugenvannederland.nl/?/nl/items/RIJK01:SK-A-423 Brinio op het schild geheven] Painting by [[Otto van Veen]]</ref> |
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[[File:Guy_Lusignan_Saladin_Jan_Lievens.jpg|thumb|right|240px|[[Jan Lievens]]'s painting of [[Saladin]] (ca. 1138 — 1193) holding [[Guy of Lusignan]] (c. 1150 – 1194) captive in golden chains. Mark the royal Islamic green cloathing and the royal Christian red cloathing.]] |
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[[File:Image-Carel van Mander 002.jpg|thumb|right|240px|[[Karel van Mander]]'s painting of ''the Continence of [[Scipio]]'', depicting his return of a captured young woman to her fiancé, having refused to accept her from his troops as a prize of war. This was a popular subject for the ''historical allegory'' in Lievens' time. Lievens interpretation (whereabouts unknown) was described by Houbraken.]] |
[[File:Image-Carel van Mander 002.jpg|thumb|right|240px|[[Karel van Mander]]'s painting of ''the Continence of [[Scipio]]'', depicting his return of a captured young woman to her fiancé, having refused to accept her from his troops as a prize of war. This was a popular subject for the ''historical allegory'' in Lievens' time. Lievens interpretation (whereabouts unknown) was described by Houbraken.]] |
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Revision as of 18:32, 27 June 2012
Jan Lievens | |
|---|---|
 Self portrait | |
| Born | Jan Lievens 24 October 1607 |
| Died | 4 June 1674 (aged 66) |
| Nationality | Netherlands |
| Education | Pieter Lastman |
| Known for | Portrait painting |
Jan Lievens (24 October 1607 – 4 June 1674) was a Dutch painter, usually associated with Rembrandt, working in a similar style.
Biography
According to Arnold Houbraken, Jan was the son of Lieven Hendriksze, a tapestry worker (borduurwerker), and was trained by Joris Verschoten. He was sent to Pieter Lastman in Amsterdam at about the age of 10 for two full years. After that he began his career as an independent artist, at about the age of 12 in Leiden.[1] He became somewhat of a celebrity because of his talent at such a young age. Specifically, his copy of Democriet & Herakliet by Cornelis van Haarlem (illustration), and a portrait of his mother Machtelt Jans van Noortzant, were admired. This attracted the attention of Maurice of Nassau, Prince of Orange, around 1620, who bought a life-size painting of a young man reading by the light of a turf-fire. He gave this painting in turn to the English Ambassador, who presented it to James I. This was the reason why, when Lievens was 31, he was invited to the British court.[1] When he returned from England via Calais, he settled in Antwerp, where he married Suzanna Colyn de Nole, the daughter of the sculptor Michiel Colyns, on 23 December 1638.[2] In this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a Continence of Scipio was painted for the Leiden city hall.[1] A poem by Joost van den Vondel was written in honor of a painting (a schoorsteenstuk, or over the mantel piece) he made for the mayor's office of the Amsterdam city hall (now the Royal Palace of Amsterdam) in 1661.[1] According to the Amsterdams Historisch Museum, this piece survives and depicts Brinno raised on a shield with the Cananefates, after a similar painting by Otto van Veen in 1613.[3]
Lievens collaborated and shared a studio with Rembrandt van Rijn from about 1626 to 1631. Their competitive collaboration, represented in some two dozen paintings, drawings and etchings,[4] was intimate enough to cause difficulties in the attribution of works from this period. Lievens showed talent for painting in a life-size scale, and his dramatic compositions suggest the influence of the Caravaggisti. In Constantijn Huygens' assessment, Lievens was more inventive, yet less expressive than Rembrandt.[5] The two men split in 1631, when Rembrandt moved to Amsterdam and Lievens to England. In 1656 Rembrandt still owned paintings by his former friend.
During his time in England Lievens painted a portrait for Thomas Howard, 21st Earl of Arundel, and became influenced by the works of Anthony van Dyck. Lievens worked in Antwerp, and cooperated with Adriaen Brouwer. After being a court painter in The Hague and Berlin, he returned to Amsterdam in 1655. After his first wife died he married a sister of Jan de Bray in 1648. After 1672, the Rampjaar Lievens had increasing financial difficulties and his family voided all claims of inheritance on his death due to his debts.
Notes
- ^ a b c d Template:Language icon Jan Lievensz. biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature
- ^ Jan Lievens in the RKD
- ^ Brinio op het schild geheven Painting by Otto van Veen
- ^ Mariet Westermann, Rembrandt 2000:39.
- ^ Jan Lievens (Getty Museum)
Sources
- Haak, Bob. Rembrandt: His Life, His Work, His Time. New York: Harry N. Abrams. pp. 42–43. LCCN 6912481.
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External links
- Getty Museum
- Works
- Lievens at WGA
- National Gallery of Art Jan Lievens Exhibit
- Milwaukee Art Museum, Jan Lievens: Out of Rembrandt’s Shadow, Exhibit
- A Dutch Master Rediscovered
- Works and literature on Jan Lievens
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