Jan Baptist Weenix
From The Art and Popular Culture Encyclopedia
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| - | '''Italianate landscape painting''' is an art term in [[landscape painting]] which refers to [[Dutch landscape painter]]s who painted an often idealized version of [[Italian landscape]]s. | ||
| - | Though often young [[Northern European artists]] were encouraged to [[Grand Tour|visit Italy]] to experience ''Italian light'', many artists could make their living selling '''''Italianate''''' landscapes without ever bothering to make the trip. Indeed, certain styles were so popular that they became formulas that could be copied again and again. [[Adam Pynacker]] is considered an example of an ''[[Italianate landscape]] painter'', along with [[Jan Both]], [[Jan Baptist Weenix]], [[Nicolaes Berchem]] and [[Jan Asselyn]]. | + | '''Jan Baptist Weenix''' (1621–1660?), a painter of the [[Dutch Golden Age]]. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were [[Italian landscapes]] with large figures among ruins, seaside views, and, later in life, large [[still life]] pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground. |
| + | ==Life== | ||
| + | Weenix was born near Amsterdam's harbour, the son of an [[architect]]. {{sfn|Chisholm|1911}} | ||
| + | He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. | ||
| + | He drew whenever he could, according to [[Jan Weenix]] his son, who told the story to [[Arnold Houbraken]]. | ||
| - | These paintings were typically set in more mountainous settings than are found in the Netherlands, with golden light, and sometimes picturesque Mediterranean [[staffage]] and ruins. Not all the artists who specialized in these had visited Italy. [[Jan Both]] (d. 1652), who had been to Rome and worked with [[Claude Lorrain]], was a leading developer of the sub-genre, which influenced the work of many painters of landscapes with Dutch settings, such as [[Aelbert Cuyp]]. Other artists who consistently worked in the style were [[Nicolaes Berchem]] (1620–1683) and [[Adam Pijnacker]]. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist. | + | Weenix first studied under [[Jan Micker]], who was the brother-in-law of his oldest sister Lysbeth. He then studied in [[Utrecht (city)|Utrecht]] under [[Abraham Bloemaert]], and later back in Amsterdam under [[Claes Cornelisz. Moeyaert]]. |
| - | ==References== | + | In 1639, he married Josijntje d'Hondecoeter. In 1643, Weenix travelled to [[Rome]] with [[Nicolaes Pieterszoon Berchem]], who had also studied with Moeyaert. |
| - | *''Dutch 17th Century Italianate Landscape Painters'' by Albert Blankert | + | He had left his home secretly, but his wife, the daughter of [[Gillis d'Hondecoeter]], traced him to [[Rotterdam]]. |
| + | Then he was allowed to stay away for four months. | ||
| + | In Rome, he became a member of the [[Bentvueghels]] and was much esteemed and worked for [[Pope Innocent X]]. {{sfn|Chisholm|1911}} | ||
| + | He returned to Amsterdam after four years; his wife had refused to come to Rome. | ||
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| + | In 1649, he became master of the [[guild of St. Luke]] in Utrecht,{{sfn|Chisholm|1911}} and also painted a portrait of [[René Descartes]]. | ||
| + | When his brother-in-law [[Gijsbert d'Hondecoeter]] died, he trained his nephew [[Melchior d'Hondecoeter]], together with his own son [[Jan Weenix]]. | ||
| + | Weenix moved to a castle at [[Vleuten]] outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date. | ||
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| + | He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" ([[Gemäldegalerie Alte Meister]], [[Dresden]]). In the [[National Gallery, London]], is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg. | ||
| - | ==See also== | ||
| - | *[[Italian Renaissance garden ]] | ||
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Jan Baptist Weenix (1621–1660?), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground.
Life
Weenix was born near Amsterdam's harbour, the son of an architect. Template:Sfn He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken.
Weenix first studied under Jan Micker, who was the brother-in-law of his oldest sister Lysbeth. He then studied in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1639, he married Josijntje d'Hondecoeter. In 1643, Weenix travelled to Rome with Nicolaes Pieterszoon Berchem, who had also studied with Moeyaert. He had left his home secretly, but his wife, the daughter of Gillis d'Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome, he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. Template:Sfn He returned to Amsterdam after four years; his wife had refused to come to Rome.
In 1649, he became master of the guild of St. Luke in Utrecht,Template:Sfn and also painted a portrait of René Descartes. When his brother-in-law Gijsbert d'Hondecoeter died, he trained his nephew Melchior d'Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle at Vleuten outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date.
He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.
