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HALS, Dirck
(b. 1591, Haarlem, d. 1656, Haarlem)
Biography
Dirck was the younger brother of Frans Hals who was probably also his teacher, but the painters who influenced Dirck were Esaias van de Velde and Willem Buytewech. Apart from a few portraits, he devoted himself exclusively to the painting of conversation pieces - the cheerful domestic life of prosperous burghers in their houses or gardens. He was not interested in the serious side of life; in his work he depicted people in conversation or while flirting, making music and dancing, eating and drinking. His interiors are hardly worked out, all the emphasis is put on fashionable dress and colourful representation. He succeeded in putting across people's high spirits through facial expression, costly dress, posture and loose grouping.
JOUVENET, Jean-Baptiste
(b. 1644, Rouen, d. 1717, Paris)
Biography
French painter, the outstanding member of a family of artists from Rouen. He went to Paris in 1661 and joined the studio of Lebrun. His early works, including decorations for the Salon de Mars at Versailles, were closely imitative of the style of Lebrun and Eustache Le Sueur (St Bruno in Prayer, Nationalmuseum, Stockholm). He was the most distinguished of the group of artists who collaborated with La Fosse in the decorations at Trianon and Les Invalides, but he is now best remembered as the leading French religious painter of his generation, carrying out numerous major commissions for churches in Paris and elsewhere. His later work was marked both by Baroque emotionalism and by a realistic treatment of details foreign to the principles encouraged by the Academy. It is recorded, for example, that before painting his Miraculous Draught of Fishes (Louvre, Paris, c. 1706) he studied fishing scenes on the spot at Dieppe.
JONGH, Ludolf de
(b. 1616, Overschie, d. 1679, Hillegersberg)
Biography
Dutch painter, who studied with Delft portraitist Cornelis Saftleven in Rotterdam and a Caravaggesque painter in Utrecht, then from 1635, he studied for seven years in France. His known earliest paintings were executed in Rotterdam around 1642 and were portraits and genre subjects. By the late 1640s, his genre subjects and hunting scenes show the influence of the Utrecht Caravaggisti, especially Jacob Duck.
He was probably Rotterdam's leading painter during the 1650's and kept in style with the developments in Dutch painting. Demonstrating his interest in Dutch painting's latest innovations, his portraiture became more expressive and his space more clearly defined, and he grew more concerned with light. This work greatly influenced the young Pieter de Hooch.
He gradually stopped painting after 1660 when he became involved with law enforcement in Rotterdam.
Unlike most Dutch painters of the 1600s, who were specialists, Ludolf de Jongh painted portraits, genre paintings, landscapes, and historical subjects. As a result of this wide variety of subject matter, his works have frequently been attributed to others. Moreover, he signed few paintings, and his style often changed in response to new developments in Dutch painting.
JOHNSON, Cornelius
(b. 1593, London, d. 1661, Utrecht)
Biography
Anglo-Dutch portrait painter born in London of Dutch parents (originally Cornelis Jonson van Ceulen). He perhaps trained in Holland and he settled there in 1643, but he worked mainly in London, where he had an extensive practice. Johnson was at his best when working on a fairly small scale, showing a sensitive gift for characterization. He painted in a straightforward but sensitive Dutch manner sometimes indistinguishable from that of Mytens. After 1632 he came under van Dyck's influence, but in Holland he adopted a more Dutch manner, closer to that of Miereveld. Cornelius Johnson Cornelius JohnsonCornelius Johnson
JANSSENS, Abraham
(b. 1575, Antwerpen, d. 1632, Antwerpen)
Biography
Flemish figure and portrait painter, active mainly in Antwerp. He was in Rome in 1598 and back in Antwerp by 1601. A second visit to Italy seems likely, for although in 1601 he was painting in a Mannerist style (Diana and Callisto, Museum of Fine Arts, Budapest), by 1909 (Scaldis and Antwerpia, Musée Royal, Antwerp) his work had become much more solid, sober, and classical, suggesting close knowledge of Caravaggio in particular. For the next decade Janssens was one of the most powerful and individual painters in Flanders, but during the 1620s his work became less remarkable as he fell under the all-pervasive influence of Rubens. His pupils included Gerard Seghers and Theodoor Rombouts.
Abraham Janssens
Abraham Janssens - Wikipedia
Abraham Janssens
Abraham Janssens
JANSSENS, Abraham
Abraham Janssens (1573 - 1632)
JANSSENS, Victor Honoré
(b. 1658, Bruxelles, d. 1736, Bruxelles)
Biography
Flemish painter and draughtsman. He was apprenticed to Lancelot Volders (fl 1657-?75) in Brussels from 1668 to 1675. He also studied with the Dutchman Pieter Molyn. He came under the patronage of Herzog Joachim II von Holstein-Plön, who supported his trip to Italy. In Rome he studied the works of Raphael and the ancient monuments and made drawings of the Roman Campagna. His highly popular small paintings were influenced by those of Francesco Albani. Janssens also painted a large altarpiece for the Jesuits of Naples.
La exposición: 'Seicento Napoletano. Del Naturalismo al Barroco'
Via 20MINUTOS.ES.
Ampliar foto'Un Apostol', de Francesco Fracanzano.
Fotogalería Guía práctica Los autores Las obras.
'Seicento napoletano. Del naturalismo al barroco' es el título de esta exposición que presenta y organiza la Fundación Banco Santander en la Sala de exposiciones de la Real Academia de Bellas Artes de San Fernando del 14 de mayo al 13 de julio, con una extraordinaria selección de más de cincuenta obras de pintura napolitana del siglo XVII -edad de oro artística en Nápoles- que se presenta por primera vez en Madrid.
La muestra incluye a los napolitanos más relevantes y a autores como el español José RiberaEn la muestra no sólo se darán cita los creadores napolitanos más relevantes, sino también autores que forman parte ya de la iconografía de la pintura universal como el español José Ribera o los italianos Gentileschi, Lucas Giordano o Caracciolo, que dieron a la pintura una calidad, una riqueza de luces y de sombras, y una variedad de temáticas que han venido a ser verdaderos documentos para el presente; sino también otros nombres más desconocidos para el público en general, pero que constituyeron una verdadera legión de maestros de este periodo, cubriendo con sus encargos buena parte de los gustos de la Corte española, del Virreinato de Nápoles y otras cortes europeas. La exposición, que parte de un intenso Ecce homo de Giovan Battista Caracciolo, viene a plantear la evolución desde un primer naturalismo hasta la liberación del barroco, y en ella conviven la quietud de escenas silenciosas con el clasicismo más sosegado, o bien la monumentalidad de composiciones arriesgadas, con la intimidad y el detalle de las naturalezas muertas. La catalogación de todas las pinturas va precedida de dos excelentes trabajos. El primero es obra del experto en arte napolitano y Comisario de la muestra, Nicola Spinosa, Superintendente de los bienes artísticos e históricos y de los museos napolitanos, Profesor Universitario, autor de numerosas publicaciones y restauraciones artísticas en Nápoles. El segundo reedita un estudio de nuestro gran especialista Alfonso E. Perez Sánchez, realizado en 1985 y actualizado para la ocasión, que trata de las relaciones entre España y la pintura napolitana del Seicento.
Seicento Napoletano: del Naturalismo al Barroco
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