Jan brueghel the younger biography template

A Flemish painter and engraver, David Teniers (the Younger) was born on December 15, 1610 in Antwerp. As the first son of painter David Teniers the Elder and Dymphna Wylde, he was involved with art by the age of sixteen when he began formally studying under his father. Developing specializations in religious themes, rustic and landscape scenes, and interior pieces, by 1633 he had become a master in the Antwerp Guild. Four years later, on July 4, 1637, he married Anna Bruegel, the daughter of Jan Brueghel the Elder; through this marriage, he grew close to the Brueghel family and their important connections, like fellow Flemish artist Peter Paul Rubens. It was during this time that he engaged in artistic collaborations with his brother in law, Jan Brueghel the Younger; a prominent example of this is the 1642 Armorer’s Shop, in which Teniers painted the overall scene, including the armorer and his shop, and Brueghel painted the details of armor that lay near their creator. Throughout the 1640s and beyond, Teniers’ standing as a successful artist increased greatly: in 1644, he became the dean of the St. Luke Guild in Antwerp and in 1650 Archduke Leopold Wilhelm of the Spanish Netherlands named him court painter. In this position, he curated and maintained Wilhelm’s collection, expanding it to contain about 1,300 pieces, featuring works of famous Italian masters such as Raphael and Titian. Teniers also incorporated pieces by famed Northern artists, mixing works by Pieter Bruegel the Elder and Jan van Eyck into the collection. On May 11, 1656, his wife Anna died; within a year Teniers remarried, wedding Isabella de Fren with whom he had four children. He left his position as court painter in 1659. Four years later, in 1663, Teniers founded the Antwerp Academy to teach students Flemish styles of drawing and sculpture; as he grew older, he also worked as an art dealer and an organizer of auctions. He died on April 25, 1690 at age 80.

By Saffron Sener

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Adelaide Milton de Groot, New York (by 1950–d. 1967)

Hartford, Conn. Wadsworth Atheneum. "The Adelaide Milton de Groot Loan Collection," 1950, no catalogue?

Hartford, Conn. Wadsworth Atheneum. "Flowers: Variations on a Theme," May 13–June 7, 1953, no catalogue.

C. C. C[unningham]. "Flowers: Variations on a Theme." Wadsworth Atheneum Bulletin, 2nd ser., no. 41 (May–September 1953), p. 1, ill.

Klaus Ertz. Jan Brueghel der Ältere (1568–1625): die Gemälde mit kritischem Oeuvrekatalog. Cologne, 1979, p. 289, fig. 362.

Everett Fahy. Metropolitan Flowers. New York, 1982, pp. 100–101, ill. (color).

Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 23–24; vol. 2, colorpl. III, pl. 13, as by Jan Brueghel the Younger, observing that this "is probably the correct attribution," and that the execution on the whole, while clearly not by Jan the Elder, is close to that of Jan the Younger.

Introduction by Walter A. Liedtke inFlemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 302–3, no. 98, ill. (color).

Old Master Pictures. Christie's, Amsterdam. May 11, 1994, p. 103, under no. 170.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 289, ill., as "A Basket of Flowers".

Alte Meister. Dorotheum, Vienna. March 4, 1997, unpaginated, under no. 145.

Old Master Paintings and Sculpture. Christie's,

Flemish painter (1601–1678)

Jan Brueghel (also Bruegel or Breughel) the Younger (BROY-gəl,BROO-gəl;Dutch:[ˈjɑmˈbrøːɣəl]; 13 September 1601 – 1 September 1678) 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.

Life

Jan Brueghel was born in Antwerp on 13 September 1601 as the son of Jan and Isabella de Jode. His mother was the daughter of the cartographer, engraver and publisher Gerard de Jode. He trained with his father in his workshop. His father was a friend and close collaborator of Rubens. Jan likely assisted with his father's large-scale commissions.

On the wishes of his father he traveled around 1622 to Milan where he was welcomed by Cardinal Federico Borromeo. The cardinal was a patron and friend of his father who had met in Rome about 30 years earlier. In what was likely an act of rebellion against his father, he went to Genoa where he stayed with his cousins, the Antwerp painters and art dealers Lucas de Wael and Cornelis de Wael. Their mother was a sister of Jan's mother. At the time his friend and fellow Antwerp artist Anthony van Dyck was also active in Genoa. He later worked in Valletta on Malta in 1623. From 1624 to 1625 he lived in Palermo on Sicily at the time when van Dyck was also working ther

Jan Brueghel (1568-1625) was a painter of immense diversity. His work includes biblical, mythological, and classical histories, battle scenes, hellscapes, seascapes, floral garlands and still lifes, portraits and genre scenes, as well as many sorts of landscape: woodland hunts, mountain prospects, country roads and rivers, and villages. While his surviving oeuvre consists of about 350-400 autograph paintings (including collaborative works), hundreds more are, to varying degrees, associated with his hand or his conception. Early in his career Jan worked mostly at a small scale and on a copper support; gradually the size of his pictures increased and he worked more often on panel or even on canvas. Brueghel often collaborated with other master painters, including Peter Paul Rubens, Hans Rottenhammer, Hendrick van Balen, Sebastiaen Vrancx, and Joos de Momper. He only had two known pupils, Daniel Seghers and his own son Jan the Younger, but an efficient studio staffed by paid professionals permitted copious production.

Jan was baptized in Brussels on August 28, 1568, son of the painter Pieter Bruegel and Maria Coecke van Aelst. He was the third of the couple’s children and the last, since his father died not long after his birth. Jan lived in Brussels for his first fifteen years, and probably learned to paint from relatives there who worked as tapestry designers. He also received some training in watercolor techniques, possibly miniature painting, from his maternal grandmother Maeyken Verhulst(/biographies/bio11) of Mechelen. In 1583 he moved to Antwerp to work with Pieter Goetkint, an oil painter and important art dealer. Although Goetkint died that same year, Jan may have continued working for the family business under Antoon Goetkint.

Around 1588-9 Jan left Antwerp and traveled to Cologne, Frankenthal, and finally to Naples, one of Europe’s largest cities and a good source of employment for foreign artists. There he worked for Don Francesco Caracciolo, a disting