6727

3 afbeeldingen Nicolaes Berchem man / Noord-Nederlands schilder, tekenaar, etser, decoratieschilder (van interieurs), prentkunstenaar, prentenverzamelaar, schilderijenverzamelaar 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.

Berchem, Nicolaes Pietersz. Berchem, Claes Pietersz. Berchom, Cornelis van Berghen, Nicolaes Berghem, Niclas Berighem, Claes Berrighem, Nicolaes Haarlem, Claasz. van Pietersen, Claes known signatures: CBerghem, CBerighem, CBerrighem and NBerchem (Stechow 1965); also CJ Berchem (c. 1640) and Berchem (final decade) were used, depending when the piece was painted (M. de Kinkelder); the name Berchem is deduced from his father's place of birth (Van Thiel-Stroman 1999, p. 242, note 1 and p. 243, note 36); registered as Claes Pietersen with the Haarlem guild in 1642 (Van Thiel-Stroman, p. 236); Cornelis de Bie called him Cornelis van Berchom (Van Thiel-Stroman 2006, p. 242-243, note 38)

Kwalificaties schilder, tekenaar, etser, decoratieschilder (van interieurs), prentkunstenaar, prentenverzamelaar, schilderijenverzamelaar Houbraken mentions he owned a precious copy of the print after Raphael's Massacre of the Innocents with the pine tree (Houbraken 1719, p. 112). His collection of was auctioned on May 4, 1683 in the house of his widow and his collection of drawings and prints was auctioned on December 7, 1683 (Kramm; Van Thiel-Stroman 2006, p. 104)

Nationaliteit/school Noord-Nederlands

Geboren Haarlem 1621/1622 ccording to Houbraken, his funeral announcement said that he died in 1683, when he was fully 60 years old, which would make 1624 [sic] his year of birth (Houbraken 1719). Van Thiel-Stroman states that Berchem was born in 1621 or 1622, since his age was mentioned in a document of June 9, 1661 as 39 (Van Thiel-Stroman 1999, pp. 236, 242, note 2; Van Thiel-Stroman 2006, p. 124-125, note 3). In the wedding registry of 1646 Haarlem is mentioned as his place of birth (Van Thiel-Stroman 1999, p. 242, note 2); also see RKDimages 109135: portrait of Berchem with the inscription '[...] 1650./ Æ: 27'; if this is correct than Berchem was born in 1622 or 1623; earlier it was assumed that he was baptised on October 1, 1620 (Van der Willigen 1870), but this concerns a different person.

Overleden 1683-02-18 He died on February 18, 1683 in his house on the Lauriersgracht and was buried on February 23, 1683 in the Westerkerk (Houbraken 1719).

Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. Son of the still life painter Pieter Claesz. (1597/98-1660/61) and father of Nicolaes Berchem the Younger (1649-1672). Son-in-law of Jan Wils (c. 1600-1666) (Houbraken 1719), actually stepson, since Wils was the stepfather of Berchem's wife. Uncle of Govert and Pieter van der Leeuw. Cousin of Jan Baptist Weenix (1621-1659) (Houbraken 1719).

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).

Hobbema, Meindert Schellinks, Willem Hackaert, Jan Dou, Gerard Weenix, Jan Baptist Moucheron, Frederik de Kimler Wils, Jan Ruisdael, Jacob van

Berchem painted the staffage in landscapes by Jacob van Ruisdael, Meindert Hobbema, Willem Schellinks, Jan Hackaert and others. He also painted together with Gerard Dou, Jan Wils and Jan Baptist Weenix (Sutton/Blankert 1987, p. 262)

Deze persoon/entiteit in andere databases

577 treffers in RKDimages als kunstenaar 19 treffers in RKDlibrary als onderwerp 1 treffer in RKDlibrary als illustrator 6478 treffers in RKDexcerpts als kunstenaar 14 treffers in RKDtechnical als onderzochte kunstenaar

Verder zoeken in RKDartists&

Geboren 1621 Sterfplaats Amsterdam Plaats van werkzaamheid Haarlem Plaats van werkzaamheid Amsterdam Plaats van werkzaamheid Bad Bentheim Plaats van werkzaamheid Italië Kwalificaties schilder Kwalificaties tekenaar Kwalificaties etser Kwalificaties decoratieschilder (van interieurs) Kwalificaties prentkunstenaar Kwalificaties prentenverzamelaar Kwalificaties schilderijenverzamelaar Materiaal/techniek olieverf Onderwerpen diervoorstelling (genre) Onderwerpen genrevoorstelling Onderwerpen havengezicht Onderwerpen italianiserend Onderwerpen jachtvoorstelling Onderwerpen mythologie Onderwerpen christelijk religieuze voorstelling Onderwerpen allegorie Onderwerpen rivierlandschap Onderwerpen landschap (als genre) Onderwerpen winterlandschap Onderwerpen portret Onderwerpen architectuur (genre) Onderwerpen stilleven Lid van vereniging Sint-Lucasgilde (Haarlem) Standplaats archief archief Le Roy

Biografische gegevens

Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld.

Haarlem 1634 probably a pupil of his father Pieter Claesz. Amsterdam 1639 - 1641 until c. 1640 a student of Claes Moeyaert in Amsterdam Haarlem 1642 - 1649 registered at the guild in 1642 as Claes Pietersen; became a member of the reformed church on January 13, 1645; married Catrijne Claesdr. de Groot on October 2, 1646 (prenuptial agreement on September 30, 1646), which whom he made up a testament on March 22, 1649. She was the stepdaughter of the landscape painter Jan Wils; their first son called Nicolaes was born in 1647, but he probably died shortly after because on April 13, 1649 a second son named Nicolaes was baptised (Van Thiel-Stroman 1999 and 2006). According to Noack 1927, he was in Rome c. 1648. It is unclear if he really made an Italian journey at all. Hoogewerff 1931 and 1950 stated that Berchem was in Rome from 1642 to 1645/6, together with Jan Baptist Weenix. Bad Bentheim 1650 a drawing of the castle of Bentheim in chalk dated 1650 is known (RKD images 208842), possibly in the company of Jacob Isaacsz. van Ruisdael Italië 1651 - 1655 See Blankert 1978 for a thorough argumentation regarding a possible stay in between 1651 and 1655 (Blankert 1978 p. 147-149, note 12; also Jansen 1985, Van Thiel-Stroman 1999, p. 242, 243, note 21, 24 and 25). Biesboer 2006, p. 21-23: argues that is not likely that Berchem traveled to Italy in this period, since no documentation supports this hypothesis. His opinion is shared by Jansen 2007 and Blankert 2013. Haarlem 1656 - 1658 on March 19, 1656 he bought a garden and country house close to the Kleine Houtpoort (Van Thiel-Stroman, p. 242); he lived in the Koningstraat in 1656; at the Oude Gracht in 1670, in 1656-1657 he was finder and in 1657-1658 dean of the guild. Amsterdam 1661 - 1670 a notarial deed from June 9, 1661 mentions him as a resident of Amsterdam (Van Thiel-Stroman, p. 242), he returned to Haarlem in the spring of 1670 (Van Thiel-Stroman, p. 242) Haarlem 1670 - 1674 on July 11, 1670 Berchem and his wife were registered as members of the church; on September 16, 1670 he became finder of the guild again, in 1672 and 1674 he was nominated but not chosen (Van Thiel-Stroman, p. 242) Amsterdam 1677 - 1683 he moved to Amsterdam in 1677, where he lived on the Lauriergracht; he died there on February 18, 1683 (Thieme/Becker 1909).

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'. Claesz., Pieter Goyen, Jan van Grebber, Pieter de Moeyaert, Claes Wils, Jan according to Houbraken (1719), Jan Baptist Weenix was the teacher of Nicolaes Berchem. This seems unlikely, as both were of similar age and both were pupils of Nicolaes Moeyaert probably at the same time. 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'. Bent, Johannes van der Berchem, Nicolaes (II) Carrée, Michiel Croonenbergh, Isaack Dubois, Simon Glauber, Johannes Hooch, Pieter de Huchtenburg, Jacob van Huysum, Justus van (I) Jardin, Karel du Le Fèbre, G. Maas, Dirk Mommers, Hendrick Ochtervelt, Jacob Romeyn, Willem Vinne, Laurens Vincentsz. van der Visscher, Dirk he was also the teacher of Guillaem le Febre and Claes Symonsz. Schout 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. Baeck, Elias Baumans, Silvester Bent, Johannes van der Bidauld, Joseph Blinkvliet, M. Bondt, Daniël de Bruyn, J. de Carrée, Michiel Dorre Wiltschut, Huig van Duplessis, Michel Griffier, Jan (I) Haas, Wynand de Hoendermans, G. Kobell, Wilhelm von Manskirch, Bernard Gottfried Meer, Jan van der (II) Remmers, Abraham Beïnvloed door In tegenstelling tot ‘navolger van’ spreken we van ‘beïnvloed door’ als de kunstenaar werd beïnvloed zonder dat er sprake was van een lessituatie of van slaafse navolging. Een kunstenaar kan door meer kunstenaars tegelijk of na elkaar beïnvloed zijn en vaak is er ook sprake van een vertaalslag naar de eigen stijl, die een ontwikkeling kan vertonen. Asselijn, Jan Both, Jan Laer, Pieter van Pijnacker, Adam in some works from around 1658 the influence of Jan Both is clearly visible 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. Bastier de Bez, Jean-Joseph Begeyn, Abraham Bellay, François Bénard, Jean Baptiste Blijhooft, Zacharias Bock, Folckert Boucher, François Bout, Pieter Brand, Christian Hilfgott Casanova, Francesco Cave, Peter La Ceruti, Giacomo Cignaroli, Angelo Antonio Court, Martinus de la Cuyp, Aelbert Demarne, Jean-Louis Doorenbos, R. Douw, Simon Johannes van Gainsborough, Thomas Holblock, Jan Cornelisz. Hoüel, Jean-Pierre Huber, Jean Daniel Ibbetson, Julius Caesar Kabel, Adriaen van der Lacroix, Charles F. de Lantara, Simon Mathurin Largillière, Nicolas de Lauterer, Johann Franz Nepomuk Leprince, Jean Baptiste Loutherbourg, Philippe Jacques de (II) Ommeganck, Balthasar Paul Oudry, Jean Baptiste Pillement, Jean Rathbone, John Rive, Pierre Louis de la Roos, Johann Heinrich Soolmaker, Jan Frans Taunay, Nicolas Antoine Tieling, Lodewijk Towne, Charles (I) Verschuring, Hendrick Wagenbauer, Max Josef Velde, Adriaen van de

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. diervoorstelling (genre), genrevoorstelling, havengezicht, italianiserend, jachtvoorstelling, mythologie, christelijk religieuze voorstelling, allegorie, rivierlandschap, landschap (als genre), winterlandschap, portret, architectuur (genre), stilleven a signed still life of plants is known in a private collection in Rome (Van der Willigen/Meijer 2003). See also a landscape with forest still life in the Koninklijk Museum voor Schone Kunsten in Antwerp, inv. no. 827 (M. de Kinkelder)

Materiaal/techniek olieverf

Lid van

Sint-Lucasgilde (Haarlem) He became a member of the Haarlem guild of St. Luke on May 6, 1642; entrance fee in the minutes of the guild of June 3, 1642 mentioned as paid; in August and September of 1642 he paid the fee for teaching Willem Romeyn, Guillaem le Febre and Claes Symonsz. Schout (Van Thiel-Stroman 1999, p. 236).

Literatuur

Literatuur in RKDLibrary 19 treffers in RKDlibrary als onderwerp

De Bie 1661-1662 , p. 262, 285 Houbraken 1718-1721 , vol. 2 (1719), p. 35, 109-114, 131, 132, 142; vol. 3 (1721), p. 56, 76, 216, 251, 274, 362, 387 (as: Nicolaas Berchem) Van Eynden/Van der Willigen 1816-1840 , vol. 1 (1816), p. 410 Van der Aa 1852-1878 , vol. 2 (1854), p. 398-399 Kramm 1857-1864 , vol. 1 (1857), p. 76 Van der Willigen 1870 , p. 76 Von Wurzbach 1906-1911 , vol. 1 (1906), p. 82-85 (as: Claes Pietersz Berchem also Berghem or Berrighem) Thieme/Becker 1907-1950 , vol. 3 (1909), p. 370-372 (as: Berchem, Claes or Nicolaes) Hofstede de Groot 1907-1928 (German edition) , vol. 9 (1926) Noack 1927 , vol. 2, p. 83 Gerson 1942/1983 , passim Hollstein et al. 1949-2010 , vol. 1 (1949), p. 249-280 Hoogewerff 1952 Utrecht 1965 , p. 148-149 Van Gelder/Van Hasselt/Blankert 1966 , p. 15-18 Bol 1973 , p. 257-258 Witt Checklist 1978 , p. 25 Blankert 1978 , p. 147-149 Haak 1984 , p. 383-384 Sutton 1984 , p. 58-59 Sutton/Blankert 1987 , p. 262-268 Briganti et al. 1991 , p. 122-126 Van der Willigen/De Kinkelder (typescript 1993/1998) (Nicolaes Berchem (baptized 1 October 1620 - 18 February 1683)- but see for his date of birth, under 'Born' Son of Pieter Claesz. Born in Haarlem. His father, who taught him first, helped him to good teachers for other subjects than still lifes, notably Pieter de Grebber, Nicolaes Moeyaert and Jan van Goyen. Reporting these apprenticeships Houbraken even adds Jan Wils and Jan Baptist Weenix to this list, but the first was his father-in-law and the second was his own younger cousin; probably more a gesture of kindness than real teaching. All authors agree that , back in Amsterdam in 1646, and indirectly Jan Both have had more influence on Berchem's later Italianate style than his cousin Weenix. As early as May 1642 Berchem was accepted in the Haarlem guild and in that same year he took on not less than three pupils. In 1646 he got married there and in c. 1650 he travelled with Jacob van Ruisdael to the Bentheim region. From 1654 till lastly 1670 his name has been found in documents in Haarlem and in the records in Amsterdam, first in 1660 and when he had moved there in 1677 until his death in 1683. Sofar these biographical dates seem quite straightforward but ever since 1816 (Van Eynden & Van der Willigen, vol. 1, p. 410) debate has been raging about the years in which Berchem could have been in Italy himself; that debate seems to reach its conclusion. Berchem's earliest dated works from the 1640s are just too much pure Haarlem school to think of an Italian journey between 1642 and 1646. Italianate influences started with those of Jan Asselijn, first to be observed in the winterscapes of 1647. There is, as yet, no hard-proof evidence for Berchem's trip to Italy but, if he went there at all, it will have been briefly between 1650 and 1653, probably in 1651-1652 (cf. e.g. A. Blankert in cat. exh. Utrecht 1965, p. 148, note 11; G. Jansen in Hoogsteder-Naumann's Mercury 1985 and cat. Zürich, Koetser Bequest 1988). Hence, the earlier monographs and oeuvre catalogues (by Hofstede de Groot, Von Sick 1930 and Schaar 1958) are somewhat outdated in this respect. The first remarks on his types of signature do also date from 1816. In early days there was scarce information and in three centuries some signatures have been faultily restored. But today's ample visual information on Berchem's forms of signature often provide conclusive arguments. The successful painter did not use simple monograms (cf. Jan Brueghel the Elder); he always signed his works, but in various ways. The "Ber(r)ighem" variation is found from 1644 (Prague) to 1650 (St. Etienne); otherwise it was "Berghem" from the start right up to 1655 (e.g. London, Windsor). As Stechow first observed, the form "Berchem" does not belong to works prior to 1656; this rule stands (even if some exceptions - faulty brush-ups? - are known). Less conclusive is the use of initials; certain is that in the beginning he used a "C" whilst in the late years it was an "N". The "C" or "CP" in the Berghem or Berighem signatures can be dated prior to 1653 (Paris); sometimes these are absent (abraded or lost?) and sometimes they reappear later (e.g. St. Petersburg 1663, Karlsruhe 1664). The "N" (never NP) with the "Berchem" signature probably refer to a date in the artist's last decade of his life i.e. from c. 1673 or later, but it does occur earlier (not autograph?) and it can not be considered as pragmatic as the affixing of the C had been in early years. There are some early and late works by Berchem which are not specific landscapes as they show biblical, mythological and pastoral outdoor genre scenes, dominated by large figures (e.g. 1649, Vaduz 1678, Pasadena CA 1679) plus some late allegories (e.g. Cracow 1680, Amsterdam Museum). In the survey following below, aiming at adstruction of his landscape art, smaller historical contents (even if painstakingly identified) will be disregarded. It will mostly limit itself to summing up important examples in public collectons. Early landscapes: Enschede 1643; Prague 1644; Antwerp 1645; Bremen, Budapest and Würzburg 1646; Malibu CA and Paris 1647; , Bayerische Staatsgemälde Sammlungen/Schleissheim, and Leipzig 1648; Toledo OH 1649; London, Wallace Collection , St. Etienne and Schwerin 1650; Paris and Vienna, Akademie 1653; London, Wallace Collection and Los Angeles 1654; London, Windsor and Paris, Petit Palais 1655. As 1656 saw him change to signing "Berchem", the following may on account of their markings be taken as belonging to this group, at first very Dutch and later more Italianate: Amsterdam, (no. A32); Bayer. Staatsgem. Samml./Aschaffenburg (no. 6435); Dresden (no. 1478); Haarlem; Hannover (no. 760); Karlsruhe (no. 299); Leipzig (no. 987); London (no. 1005); London, Windsor (Hofstede de Groot nos. 666 and 751); Münster; Paris, Institut néerlandais (Hofstede de Groot no. 119); St. Petersburg (no. 1102) and Stockholm (no. 313). Winterscapes: Amsterdam and Haarlem 1647; Zürich 1652; ; Karlsruhe. Worth mentioning is also Hofstede de Groot no. 815, signed and dated "Berighem 165(0?), last known in a private collection in New York. There is no evidence to suggest that Berchem painted winterscapes after c. 1655. Live animals: A life-size cow's head, signed and dated "C.Berighem 1650", is preserved in a British private collection (colour ill. in cat. exh. Dordrecht 1988). Nightscapes: Hannover 1652; Dunkirk. A most complicated case was lastly discussed by Sutton (col.ill. in cat. exh. Amsterdam 1987) about the date 1645 on a very fine example in the market, signed "NBerghem" (a spurious N?). Too little evidence is available to judge whether there are nightscapes after 1655. Italianate landscapes (1656 to 1669): Amsterdam (3 x), Bristol, Dresden (2 x), London, Apsley and St. Petersburg 1656; Cleveland OH 1657; Amsterdam/Utrecht, London (2 x), London, Buckingham Palace and Paris 1658; The Hague 1659; The Hague 1661; St. Petersburg 1663; Karlsruhe and St. Petersburg 1664; Budapest and 1665. In 1656 Berchem was 35 years old with a first son growing up. It does seem normal that he would have started to fight for his own nîche in the market. These are the years when he plainly signed "Berchem" and numerous are the non-dated examples; to list those here would hardly serve any useful purpose. Italianate landscapes (last years): London, Wallace Collection 1672; London, Buckingham Palace 1673; Oxford 1674; Montpellier 1677; Copenhagen 1679; Vienna 1680. First to be added to these dated examples are some works with "NBerchem" signatures at Geneva (2 x), Hartford CT and Rouen which, though reverting compositionwise to an early work (St. Etienne 1650; colourwise distinctly earlier), should yet be placed, so it seems, in the 1670s. The impression is that at this age Berchem reduced his rate of production and took more time again to work on (sometimes very large and complicated) genre works of the sort mentioned at the head of this survey (redactie / edited by M. de Kinkelder 2014)) Saur 1992- , vol. 9 (1994), p. 237 and further (as: Berchem, Nicolaes) Wuestman 1998 , p. 59-102 Goosens 2001 , passim Schatborn et al. 2001 , p. 187-195 Harwood et al. 2002 , p. 131 Van der Willigen/Meijer 2003 , p. 35 (as: Nicolaes Berchem) Biesboer et al. 2006 , passim Trevisan/Zavatta 2013 , p. 41

G.j. Hoogewerff, 'Wanneer en hoe vaak was Berchem in Italië?', Oud-Holland 48 (1931), p. 84-87 G. J. Hoogewerff, 'Nederlandse dichters in Italië in de zeventiende eeuw', Mededelingen van het Nederlands Historisch Instituut te Rome 6 (1950), p. 104: "Berchem stayed in Rome from 1642 to 1646" E. Schaar, 'Berchem und Begeijn', Oud-Holland 69 (1954), p. 241-245 E. Schaar, 'Zu den Berchem-Zeichnungen in den Musées Royaux des Beaux-Arts zu Brüssel', Bulletin Musées Royaux des Beaux- Arts/Bulletin Koninklijke Musea voor Schone Kunsten 5 (1956), p. 209-220 W. Stechow, 'Über das Verhältnis zwischen Signatur und Chronologie bei einigen holländischen Künstlern des 17. Jahrhunderts' in: Festschrift Dr. h.c. Eduard Trautscholdt zum siebzigsten Geburtstag am 13. Januar 1963, Hamburg 1965, p. 113-115 P. Schatborn, 'Figuurstudies van Nicolaes Berchem', Bulletin van het Rijksmuseum 22 (1974), p. 3-16 W. J. van de Watering, 'The later allegorical paintings of Nicolaes Berchem', in: exh. cat. Old master paintings, including Nicolaas Berchem's 'Seasons'', Londen (Leger Galleries) 1981, p. 12-16 (catalogue for exhibition at Pictura Maastricht) G. Jansen, 'Berchem in Italy: notes on an unpublished ', Mercury 1985, no. 2, p. 13-17 L. Konecny, "Nicolaes Berchem: a New Drawing and a Suggestion', Mercury no. 6 (1987), p. 39-42 S. Slive, 'Dutch pictures in the collection of Cardinal Silvio Valenti Gonzaga (1690-1756)', Simiolus17/2-3 (1987), p. 177-178 and note 24 R. de Jager, 'Meester, leerjongen, leertijd. Een analyse van zeventiende-eeuwse Noord-Nederlandse leerlingcontracten van kunstschilders, goud- en zilversmeden', Oud Holland 104 (1990), p. 99. doc. 16 W. Mc. Allister Johnson, ‘From Verrue to Vence: systematic engraving of private painting collections in to 1760’, Gazette des Beaux-Arts 117 (1991), p. 77-92 B. Sitek, M. Linders, G. Goedkoop, 'Berchem en Zaïs : Nederlandse motieven in 18de-eeuwse Venetiaanse kunstwerken', Kunstlicht 12 (1991), no. 1, p. 50-52 S. K. Bennett, 'Nine Religious Drawings by Nicolaes Berchem: Designs to Ornament Maps in a 1669 Bible', Mercury 1992, no. 13/14, p. 60 G. Wuestman, 'Nicolaes Berchem in print: fluctuations in the function and significance of reproductive engraving', Simiolus 24 (1996), p. 19-53 A. Stefes, 'Eleven History Drawings by Nicolaes Berchem', Master Drawings 35 (1997), p. 367-379 I. van Thiel-Stroman, 'Nicolaes Berchem' [biographical part] in: A. Blankert et al., Hollands Classicisme in de zeventiende -eeuwse schilderkunst, (exh. cat. -Frankfurt a/M), Rotterdam 1999, p. 236-243 A. Ch. Steland, 'Drawings by Dutch Italianate painters', in: Harwood 2002, p. 42-63 A. Stefes, 'Berchem und Lairesse - zwei neu entdeckte Zeichnungen als mögliches Bindeglied', Delineavit et Sculpsit no. 25 (September 2002), p. 17-25 I. van Thiel-Stroman, 'Nicolaes Pietersz Berchem', in: Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Gent- Haarlem 2006, p. 102-105 Guido M.C. Jansen,'Review "Nicolaes Berchem", Haarlem, Zürich and Schwerin', Burlington Magazine 149 (2007), p. 354-356 A. Stefes, 'Anmerkungen zu den Montfoort-Zeichnungen Nicolaes Berchems', Delineavit et Sculpsit no. 31 (December 2007), p. 37-42 (see also 'Correction', Delineavit et Sculpsit no. 33, July 2010, p. 35: regarding the switched images D and S no. 31) A. Blankert, 'Terug naar Charles de Hooch, alsmede over het raadsel van geniaal 'rapen'', in: Ch. Dumas e.a. (ed.), Liber Amicorum Marijke de Kinkelder. Collegiale bijdragen over landschappen, marines en architectuur, The Hague 2013, p. 41-48 J. Kosten, 'Nicolaes Berchem, De veldslag van Alexander de Grote en Poros aan de Hydaspes, een iconografisch unicum', in: Ch. Dumas et al. (eds.), Liber Amicorum Marijke de Kinkelder. Collegiale bijdragen over landschappen, marines en architectuur, Den Haag 2013, p. 231-242 M. Lassmann, 'Geschäftstüchtiger Inspirator. Bewertung Nicolaes Pietersz. Berchem', Kunst und Auktionen 46 (2018) no. 4, p. 32-34

A. Stefes, Nicolaes Pietersz. Berchem. Die Zeichnungen, 1997 (dissertation; publication in preparation 2009)

Documentatie RKD In dit veld worden de standplaatsen vermeld van documentatiemateriaal in het RKD. De meeste standplaatsen verwijzen naar de kunsthistorische beelddocumentatie. Daarnaast treft u verwijzingen naar persdocumentatie aan (knipsels en klein drukwerk).

BD/RKD/0542 - ONS/Historie 2 BD/RKD/0558 - ONS/Genre 2: algemeen BD/RKD/0560 - ONS/Genre 2: volksleven BD/RKD/0574 - ONS/Landschappen 2 BD/RKD/0588 - ONS/Landschappen met soldaten/ruiters/jagers BD/RKD/0590 - ONS/Winterlandschappen BD/RKD/0592 - ONS/Italianiserende landschappen BD/RKD/0608 - ONS/Portretten 2 BD/RKD/0616 - ONS/Dierstukken BD/RKD/0642 - ONS/Decoratieve schilderkunst BD/RKD/0676 - ONS/Originele grafiek (op inventor) BD/RKD/0800 - ONS/Voorordening schilderkunst BD/RKD/0130 - ONT/Religie, mythologie, allegorie, historie en literatuur BD/RKD/0134 - ONT/Genre: algemeen BD/RKD/0138 - ONT/Genre: soldaten, ruiters en jagers BD/RKD/0140 - ONT/Figuren BD/RKD/0142 - ONT/Naaktfiguren BD/RKD/0144 - ONT/Portretten en koppen BD/RKD/0148 - ONT/Studies/kopieën naar andere kunstenaars BD/RKD/0152 - ONT/Landschappen BD/RKD/0156 - ONT/Italianiserende landschappen BD/RKD/0158 - ONT/Winterlandschappen en -taferelen BD/RKD/0160 - ONT/Marines, kusten en havens BD/RKD/0162 - ONT/Stadsgezichten en architectuur BD/RKD/0164 - ONT/Italianiserende stadsgezichten en architectuur BD/RKD/0166 - ONT/Kastelen, buitenplaatsen en tuinen BD/RKD/0172 - ONT/Dieren en gedrochten BD/RKD/0174 - ONT/Ornamenten, titelbladen en beeldhouwwerk BD/RKD/0276 - ONT/Grafiek BD/RKD/0278 - ONT/Voorordening tekenkunst BD/RKD/0280 - ONT/Originele grafiek (op inventor) PDO/Nederlandse kunstenaars BD/RKD/Witt-microfiches BD/RKD/IB BD/RKD/0674 - ONK/Stillevendocumentatie Sam Segal/Nederlanden (op aanvraag raadpleegbaar)

Standplaats archief archief Le Roy Project Inventarisatie Decoratieve Interieurschilderingen in Nederland (1600-1940) Gerson Digital : Duitsland Gerson Digital : Italië Nederlandse kunstenaars in Rome

Externe links this artist in Ecartico

Permalink https://rkd.nl/explore/artists/6727

Ingevoerd op: 1991-11-21; Laatste wijziging: 2021-08-28

RKD – Nederlands Instituut voor Kunstgeschiedenis

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