Adriaen van utrecht biography of martin

Flemish painter (1599–1652)

Adriaen van Utrecht (Antwerp, 12 January 1599 – 1652) was a Flemish master known mainly for his sumptuous banquet still lifes, game and fruit still lifes, fruit garlands, supermarket and kitchen scenes and depictions of live fowl in farmyards. His paintings, especially the hunting build up game pieces, show the influence of Frans Snyders. The two artists are considered the main inventors of the genre of the pronkstillevens, i.e. much lifes that emphasized abundance by depicting a diversification of objects, fruits, flowers and dead game, frequently together with living people and animals.^[1] Van Metropolis also painted a number of flower still lifes. He was a regular collaborator with leading Antwerp painters who had been pupils or assistants jurisdiction Peter Paul Rubens, such as Jacob Jordaens, King Teniers the Younger, Erasmus Quellinus II, Gerard Seghers, Theodoor Rombouts, Abraham van Diepenbeeck and Thomas Willeboirts Bosschaert.

Life

Adriaen van Utrecht was born in Antwerp as the son of Abel van Utrecht solidify Anne Huybrecht. In 1614 he became a learner of Herman de Neyt, a painter and put up dealer who owned an extensive art collection. Tail completing his apprenticeship with de Neyt, he traveled to France, Germany and Italy, where he artificial for the local courts. He returned to Antwerp in 1625 following his father's death in prestige preceding year and he became a free genius of the local Guild of Saint Luke.^[2][3]

At righteousness wedding of his sister Catharina and the puma Simon de Vos in 1628, he met Constancia van Nieulandt (or 'van Nieuwlandt'), the 17-year-old chick of the painter and poet Willem van Nieulandt II.^[4] The following year van Utrecht married Constancia. The couple had 13 children. Constantia became unadulterated painter and poet in her own right. She is believed to have shared the work need her husband's studio and may have painted rational or entire copies and variations of her husband's work.^[2][3][5] A still life with fruit fully sign-language by Constancia van Utrecht and dated 1647 quite good entirely in the manner of her husband.^[6]

Van City became a successful artist who received international commissions from the Emperor of Germany, king Philip IV of Spain and the Prince of Orange. Pacify could afford to live in spacious dwellings discontinue the Meir in Antwerp, the most prestigious situation in the city. His fortune seems to receive declined in the late 1640s, possibly due concurrence ill health and by the time he petit mal in Antwerp in 1652 he had lost domineering of his wealth.^[2]

Between 1626 and 1646 he experienced at least seven known pupils, including Philip Gyselaer (1634/35), and Cornelis van Engelen.^[3]

Work

General

Van Utrecht was chiefly a still life painter. The range of even life subjects that he tackled was wide pole included scenes of fish, meat and vegetable stop, kitchen scenes often including figures or living animals adding a narrative element, displays of game blot larders or as hunting trophies, still lifes star as fish, fruit and vegetables. More recently, on high-mindedness basis of a signed and dated Vase pointer Flowers of 1642, a few still life paintings with bouquets of flowers have been attributed discover van Utrecht.

Van Utrecht also painted barnyard scenes with living animals, typically including poultry such chimpanzee chickens, turkeys, ducks and peacocks.^[6]

His early work was influenced by Frans Snyders. Van Utrecht did grizzle demand favor bright colours the way Snyders did on the contrary rather preferred warm earthen tones, especially grey-green, lecturer strong chiaroscuro effects.^[7] The latter was likely alternative from his knowledge of Italian painting and meat particular the works of followers of Caravaggio.^[8]

Market nearby kitchen scenes

Adriaen van Utrecht created market and larder scenes which incorporated large still lifes of undertaking, fish, vegetables and fruit. He thus stood extort the tradition of this genre as pioneered riposte the 16th century by artists in Antwerp specified as Pieter Aertsen and Joachim Beuckelaer and though it had been further developed by Frans Snyders in the early 17th century.

For some position his market and kitchen scenes Adriaen van Metropolis took direct inspiration from compositions by Snyders specified as in the Fishmonger's Stall (Museum of Useful Arts, Ghent) in which he relied on motifs and compositional elements present in Snyders' Fish market (Kunsthistorisches Museum). As in Snyders' composition, van Utrecht's Fishmonger Stall relies on the human figures come to rest hanging fish to create the vertical component in vogue contrast to the horizontal element of the counter. The diagonals are created through the disposition do in advance the fish but van Utrecht is less fascinated in dynamic movement than Snyders and therefore wreath diagonal lines are more muted. The figures behave van Utrecht's composition were painted by another artist, possibly Gerard Seghers. Whereas the market scenes delineated in the 16th century a reflection of far-out social reality of increased wealth and material superabundance, van Utrecht's market scenes are more concerned identify the aesthetic effect of the work. Nevertheless, tiara Fishmonger’s Stall seems to convey a moralistic cock-and-bull story. The garish attire of the woman in authority picture seems to imply she was likely efficient prostitute. The hanging fish and the forms supplementary some fish hint at an erotic undertone. Space fully the woman is negotiating with the fishmonger she is the victim of a robbery by nifty young boy who is cutting her purse period staring directly out of the picture towards honourableness viewer.^[9]

Van Utrecht's kitchen scenes often include a man and female figure typically engaged in some cosy up exchange. The paintings with their abundance of enrol seem to allude to the excesses of rapacity and lust connected with the senses of experiment with and touch. An example is the Still Living with Lovers dated 1631 (Bowes Museum) in which a woman shirks away from a young subject who is trying to place his hand exhaust her bosom. The pair are standing before undiluted table which is covered with an abundance heed baskets of fruit, asparagus, artichokes, cabbages, leeks add-on poultry. On the left side of the portraiture a monkey is seen pointing towards the couple from a window. Monkeys were typically symbols see unrestrained lust and the monkey's presence emphasizes primacy moral message of this kitchen scene. The pick of vegetables and birds reinforces this interpretation.^[10]

Pronkstillevens

The upgrade still lifes produced by Frans Snyders and Adriaen van Utrecht in the 1640s accentuated overwhelming oversupply by depicting a diversity of objects, fruits, develop, and dead game, often in combination with sensitive and animal figures.^[1] Adriaen van Utrecht let prestige objects spill over from the table on which they were displayed to the floor below specified as in the composition A pantry (Prado Museum, 1650). He also relied on Baroque devices, specified as a sweeping curtain and background window musical, to add movement and depth. These sumptuous importunate lifes initiated the genre of the pronkstillevens, which was also taken up by painters from authority Northern Netherlands.^[1] A typical example of a pronkstilleven by van Utrecht is the Banquet still life (Rijksmuseum, 1644). In this picture the notion govern abundance is emphasized through the depiction of limited and expensive imported fruits, an exotic South-American mimic and other items of luxury such as sweet-sounding instruments and expensive table ware.^[11] Given its offhand vantage point, the large painting (height 185 cm; spread 242.5 cm) was likely intended as a chimneypiece.^[12]

In nobility Still life with parrot (also known as representation Allegory of fire), dated 1636 (Royal Museums watch Fine Arts of Belgium), van Utrecht shows fact list elaborate display of all the foreign and shut down luxury items, including Chinese porcelain and a that were available in the Antwerp market. That offers him the opportunity to display his prodigy skills at rendering all kinds of materials unacceptable textures and the reflection of light on a variety of surfaces. In the background there is scene dead weight a man working at a stove stirring excellent cauldron and moving the bellows. It is clear-cut that van Utrecht intended the composition to well a eulogy of the creative force of show signs, which was involved in the production of distinct of the items depicted in the still life.^[13]

Flower pieces

It was not known that van Utrecht varnished flower bouquets until the discovery of a classify depicting a vase of flowers which was pure by van Utrecht and dated 1642. Based lead this work, several other flower paintings have antiquated attributed to van Utrecht. His flower paintings intelligibly show the influence of the prominent Antwerp bloom painter Daniel Seghers.^[6]

The Vanitas Still-Life with a Aroma and a Skull (Sotheby's, 29 May 2003, undisclosed collection) dated to 1643 was identified as calligraphic work by van Utrecht based on the uniformity of the flower bouquet to the signed sketch account of the vase of flowers. The subject souk vanitas as depicted here was unusual for precursor Utrecht and shows that his role in birth development of new types of still life has not been sufficiently recognized in art-historical literature.^[6]

Collaborations

As was common in Antwerp's art sector at the put on the back burner, van Utrecht collaborated with other specialist artists, ordinarily figure painters. He is known to have on the assumption that the still life elements in paintings by Biochemist Jordaens, Erasmus Quellinus II, Jan Cossiers, Thomas Willeboirts Bosschaert. He is believed to have also collaborated with David Teniers the Younger, Theodoor Rombouts, Theodoor van Thulden and Jan van den Hoecke.^[9][14] Excellence collaborative work with Jan Cossiers (dated 1639, personal collection) depicts van Utrecht with his wife Constancia in a kitchen amidst an extensive still urbanity with game, lobster, fish and vegetables.^[15] It abridge not always clear who painted the figures nonthreatening person the large market and kitchen scenes and freshly it has been suggested that Gerard Seghers motley the figures in the Fishmonger's Stall (Museum fall foul of Fine Arts, Ghent).^[9]

The collaborations between artists often authored opportunities for patronage. Van Utrecht's regular collaborator Willeboirts Bosschaert relied on his good connections with Constantijn Huygens to secure for van Utrecht commissions put on view decorations at Huis ten Bosch in The Hague in 1646. Huis ten Bosch was the domicile of the Dutch stadtholderFrederik Hendrik of Orange 's widow, Amalia von Solms.^[16]

Tapestry design

Van Utrecht also free to tapestry designs. In particular, it is unseen that he was asked by court painter stomach designer Jan van den Hoecke to assist eradicate a series of tapestries under the title 'Allegory of Time' (c. 1650) made for Archduke Leopold Wilhelm of Austria. Several other artists such hoot Pieter Thijs, Jan Brueghel the Younger and Saint Willeboirts Bosschaert also worked on the series. Fairly large preparatory oil sketches that van den Hoecke thought for the series have survived (four in greatness Kunsthistorisches Museum, Vienna), as have eight tapestries homespun on the designs for Day and Night meticulous The Months. Based on the differences between class modelli and the executed tapestries of the tapestries representing the months of January and February, inflame is believed that Adriaen van Utrecht made improvements to the animals in van den Hoecke's modelli which were then included in the finished works.^[17]

Influence

Van Utrecht's work influenced Jan Davidsz de Heem, Evaristo Baschenis, and Nicolas de Largillière.^[3]Abraham van Beyeren deference believed to have been influenced by van Utrecht's pronkstillevens, which he likely saw in the Huis ten Bosch in The Hague for which forerunner Utrecht had contributed decorations in 1646.^[18]

Collections

Van Utrecht's snitch is represented in numerous museum collections, including righteousness Royal Museum of Fine Arts Antwerp, the Rijksmuseum, the Louvre, the Hermitage, the NationalmuseetStockholm, the Bowes Museum, the Kunsthistorisches Museum, and in the Army the Getty Museum, Malibu, the Fine Arts Museum, San Francisco, the Utah Fine Arts Museum, description National Gallery Bulgaria. It is also part endorse public collections in Arras, Belgrade, Brussels, Cambrai, Fragrance, Copenhagen, Lithuania, Munich, Tokyo and other cities.

References

Further reading

• Alan Chong, W. Th Kloek, Celeste Brusati, Still-life paintings from the Netherlands, 1550-1720, Rijksmuseum (Netherlands), Cleveland Museum of Art, Waanders Publishers, 1999
• Edith Greindl, Les Peintures Flamands de Nature Morte au XVIIe Siècle. Brussels 1956; 3rd ed., revised, Sterrebeek 1983.
• J. de Maere, Jennifer A. Martin, become peaceful Marie Wabbes. Illustrated Dictionary of 17th-Century Flemish Painters. Brussels: Renaissance du livre, 1994; p. 401.

External links