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Ontdek Schilder, Tekenaar Maarten Van Heemskerck

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Ontdek Schilder, Tekenaar Maarten Van Heemskerck 36851 3 afbeeldingen Maarten van Heemskerck man / Noord-Nederlands schilder, tekenaar Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Heemskerck, Maerten van Heemskerck, Marten van Heemskerck, Martinus van Heemskerk, Maarten van Veen, Maerten van Kwalificaties schilder, tekenaar Nationaliteit/school Noord-Nederlands Geboren Heemskerk 1498 Overleden Haarlem 1574-10-01 He was buried in a new chapel at the northern side of the St. Bavo Church. Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. Son of Jacob Willemsz van Veen (1456-1535), farmer, his mother is unknown. From Maarten's will of 31 May 1572 we know that he had a brother Willem and two sisters, Neeltgen and Gerritgen. A son of Neeltgen, Jacques van der Heck, became a great friend of his uncle. He owned several paintings by him and benefited greatly from his uncle's inheritance (Grosshans 1980, p. 18). In 1540 he married Maria Jacobsdr. Coninghs (died 1544) (according to Van Mander she was old, rather ugly and stupid, but very rich). His second wife was Marytgen Gerritsdochter (her father was rich and burgomaster of Haarlem in 1510-1516), whom he married somewhere between 1545-1547(Grosshans 1980, p. 25). Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Coornhert, Dirck Volckertsz. Deze persoon/entiteit in andere databases 319 treffers in RKDimages als kunstenaar 38 treffers in RKDlibrary als onderwerp 5 treffers in RKDexcerpts als kunstenaar 72 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1498 Sterfplaats Haarlem Plaats van werkzaamheid Delft Plaats van werkzaamheid Haarlem Plaats van werkzaamheid Rome Plaats van werkzaamheid Tivoli Plaats van werkzaamheid Mantua Plaats van werkzaamheid Dordrecht Plaats van werkzaamheid Amsterdam Kwalificaties schilder Kwalificaties tekenaar Materiaal/techniek olieverf Materiaal/techniek pen in bruin Materiaal/techniek krijt Onderwerpen landschap (als genre) Onderwerpen portret Onderwerpen religieuze voorstelling Onderwerpen mythologie Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Delft When Van Heemskerck studied in Delft under Jan Lucasz. is not known. many ties of friendship however bound him to Delft all his life: maybe these dated from his apprenticeship years? (Grosshans 1980, p. 19, 25-26) Haarlem 1527 - 1532 Van Heemskerck came to Haarlem in 1527 to become a pupil of Jan van Scorel, who came from Utrecht in that year fleeing the political upheavels in that city (he stayed till 1530). After finishing his 'Madonna with St. Luke', he went to Italy. (Grosshans 1980, p. 20) Rome 1532-06 - 1536 Meeting with Giorgio Vasari, probably first week of July; he stayed in Rome with a cardinal, probably Willem van Enckenvoirt (Grosshans p. 20-21); as Van Heemskerck made a drawing of the Arch of Septimus Severus, while it was cleaned from debris (the ruins were cleaned in April for the triumphant entry of Emperor Charles V in June 1536), it is likely, that van Heemskerck was still in Rome in May-June 1536. He probably worked on the decorations for the Emperor's entry in April 1535 (see Dacos/Meijer et al. 1995, under Battista Franco) Tivoli Büttner 2000, p. 220 Mantua 1536 - 1537 Stopped here in 1536 or 1537, during his journey back to the Netherlands. A clue for his stay in Italy is, that several of his paintings from 1536-37 are painted on canvas, a material he started to use in Italy. (Grosshans 1980, p. 22) Dordrecht 1537 Van Heemskerck returned home by way of Dordrecht: he didn't spend the night there, but took a boat to Haarlem the same evening. (see for the curious story of the "murderous inn' in Dordrecht: Grosshans 1980, p. 22-23) Haarlem 1537 - 1572 His first great assignment here were the wings for Jan van Scorel's "Crucifixion" in the Oude Kerk in Amsterdam (lost in the iconoclasm of the late 1560's) ; in Haarlem Van Heemskerck started a close working relationsship (but also friendship) with Dirck Volckertsz. Coornhert. In 1551-52 he was 'vinder' (expert for painting) of the Guild, in 1554 its Dean. Amsterdam 1572 - 1573 During the Spanish siege of Haarlem, van Heemskerck moved to Amsterdam in 1572 (with permission of the Burgomasters of Haarlem), where he stayed with his friend Jacob Rauwaert. in the course of the summer of 1573 he returned to Haarlem, where he participated financially in the reconstruction of the city. (Grosshans 1980, p. 18) Haarlem 1573-05 - 1574-10-01 Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'. Lucasz., Jan Scorel, Jan van Willemsz., Cornelis Grosshans, p. 19: Willemsz. lived in Haarlem, Lucasz. in Delft Leraar van in dit veld worden namen van leerlingen vermeld. Het gaat hier om die leerlingen waarbij de leraar een relevante rol heeft gespeeld in diens vorming, dus niet om alle academieleerlingen die iemand heeft gehad. Zie ook het veld 'Opleiding'. Goude, Cornelis van der Rauwaert, Jacob Engbertsz. Nagevolgd door in dit veld worden de navolgers van de kunstenaar vermeld. Hoewel leerlingen natuurlijk ook navolgers kunnen zijn, worden die hier niet opnieuw vermeld. Met navolgers worden kunstenaars bedoeld die het werk van een voorganger in diens geest voortzetten. Dit kan soms zelfs een eeuw later zijn; er is hiervoor geen tijdslimiet. Het gaat hier wel om iemand van wie het hele werk grotendeels in de trant is van de nagevolgde kunstenaar. Clocker, Hendrick Invloed op In dit veld worden de kunstenaars vermeld op wie de beschreven kunstenaar invloed heeft gehad zonder dat er sprake was van een onderwijssituatie of van slaafse navolging. Tetrode, Willem Danielsz. van Onderwerpen In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur. landschap (als genre), portret, religieuze voorstelling, mythologie Materiaal/techniek olieverf, pen in bruin, krijt Literatuur Literatuur in RKDLibrary 38 treffers in RKDlibrary als onderwerp Van Mander 1604 (Van Mander is the first biography of the artist. Van Mander based his narrative for the greater part on the narrative of Van Heemskerkck's contemporaries and friends. One of the most important of those was the collector and art dealer Jacob Rauwaert, in whose house van Heemskerck lived (in the 1540s).) Houbraken 1718-1721 , vol. 1 (1718), p. 15; vol. 2 (1719), p. 7-8, 32-33, 211 (as: Marten Heemskerk) Von Wurzbach 1906-1911 , vol. 1 (1906), p. 660-661 (as: Marten Jacobsz. van Heemskerk) Thieme/Becker 1907-1950 , vol. 16 (1923), p. 227-229 Noack 1927 , vol. 2, p. 246 Gerson 1942/1983 , p. 138 Hollstein et al. 1949-2010 , vol. 8 [1953], p. 228-248 Van Gelder/Van Hasselt/Blankert 1966 , p. 48-49 Witt Checklist 1978 Grosshans 1980 Haskell/Penny 1982 , passim Montias 1982 Dacos/Meijer et al. 1995 , p. 236-225 Turner et al. 1996 , vol. 14, p. 291-294 Verheggen 2006 , passim Bowen/Imhof 2008 , p. 337-338 and passim Saur 1992- , vol. 71 (2011), p. 25 (text: Ilja Veldman) Dacos 2012 , passim Cashion/Luttikhuizen/West 2017 , p. 405-418; 433-446 (Essays: A. Difuria, 'The timeless space of Maerten van Heemskerkck's panoramas: viewing "Ruth and Boaz" (1550)' and S. Perlove,'Narrative, ornament, and politics in Maerten van Heemskerck's "Story of Esther" (1564)') Harnack 2018 , passim H. Egger, 'Zur Dauer von Martens van Heemskerck Aufenthalt in Rom (1532-1535)', Mededeelingen van het Nederlandsch Historisch Instituut te Rome 5 (1925), p. 119-127 Chr. Huelsen, 'Unbekannte roemische Zeichnungen von Marten van Heemserck', Mededeelingen van het Nederlandsch Historisch Instituut te Rome 7 (1927), p. 83-96 W. Stechow, 'Heemskerck, the Old Testament, and Goethe', Master Drawings 2 (1964), p. 37-39 I. Markx-Veldman, 'Een serie allegorische prenten van Coornhert met een ontwerptekening van Maarten van Heemskerck', Bulletin van het Rijksmuseum 19 (1971), p. 70-76 I. Markx-Veldman, 'Het grafmonument te Heemskerk en het gebruik van hiëroglyfen in de kring rondom Maarten van Heemskerck', Nederlands Kunsthistorisch Jaarboek 24 (1973), p. 27-44 I. Markx-Veldman, 'The idol on the ass; Fortune and the sleeper: Maarten van Heemskerck's use of emblem and proverb books in two prints', Simiolus 6 (1972-'73), p. 20-28 D. Cast, 'Marten van Heemskerck's Momus criticizing the works of the gods: a problem of Erasmian iconography', Simiolus 7 (1974), p. 22-34 Ì.M. Veldman, 'Maarten van Heemskerck and Hadrianus Junius: the relationship between a painter and a humanist', Simiolus 7 (1974), p. 35-54 I.M. Veldman, 'Maarten van Heemskerck and St. Luke's medical books', Simiolus 7 (1974), p. 91-100 I.M. Veldman, 'Notes occasioned by the publication of the facsimile edition of Christian Hülsen & Hermann Egger, Die römischen Skizzenbücher von Marten van Heemskerck', Simiolus 9 (1977), p. 106-113 E.A. Saunders, 'A commentary on iconoclasm in several print series by Maarten van Heemskerck', Simiolus 10 (1978-'79), p.
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