Abraham Bloemaert
(1564 - 1651) |
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Landscapes, Historical Narratives, Genre Subjects Art Work
| Name: |
Abraham Bloemaert |
| Gender: |
Male |
| Place of Birth: |
Gronichem |
| Nationality: |
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| Birth: |
1564 |
| Death: |
1651 |
| Website: |
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| Past Auctions: |
Click Here |
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Quick Facts
| Known For: |
Landscapes, Historical Narratives, Genre Subjects |
| Medium: |
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| Method: |
Drawing |
| Style: |
Mannersim |
| Fine Art Profession(s): |
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Biography
| Influential as a teacher, talented and adaptable as a painter, Abraham Bloemaert now ranks as one of seventeenth-century Utrecht's most important masters. His career spanned almost seven decades from the late sixteenth century through the mid-seventeenth century making him a significant transitional figure whose absorption of Italian, Dutch, Flemish, and French influences gives his work a particularly international flavor. Besides his impact as a teacher, Bloemaert made contributions to the development of the many subjects with which he experimented, including history painting, landscape, and genre themes. In 1611 he was one of the founding members of the Utrecht Guild of St. Luke and in 1618 was elected its dean. He experimented with portraiture, with new ways to present biblical histories, with mythologies, with landscapes, as well as with allegories. Besides painting, he drew extensively, worked in other media such as stained glass, and made tapestry designs. Bloemaert was active for over fifty years (from ca. 1590 until his death in 1651) and remained fresh and responsive to new ideas until the end. ' Judith Displaying the Head of Holofernes,' 1593, shows Bloemaert's enthusiastic response to the artificial and highly imaginative world of the mannerists. In the 1620s Bloemart's style continued to diversify. In certain works, such as his Adoration of the Magi (1624), we see the emergence of his "classicizing decorative" style, in which figures become at once less contrived and more distinctly human in their emotional range. His work with landscapes continued to his last years, when they became increasingly less artificial, simpler, and more clearly derived from everyday experience. The subject matter in his later "peasant landscapes" is obscured by the emphasis on a purely rural mundane genre, as exemplified by his Rural Landscape with Tobias and the Angel (1650). |
Samples of Work
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