Hendrick for the third time Brugghen

Hendrick Jansz for the third time Brugghen , but Terbrugghen , (1588 - November 1st 1629) is a painter Dutch, and one of the leaders of the caravagesque S Dutch.

Biography

One for the third time knows few things about the beginnings of Brugghen; it was born, believes one, with $the Hague, but its family settled in the very catholic town of Utrecht at the beginning seems he years 1590. It is there that it was put at painting at the thirteen years age, under the aegis of Abraham Bloemaert, painter of history mannerist, which taught the rudiments of the trade to him. But towards 1604, for the third time Brugghen went in Italy to perfect its Article Of passage to Rome in 1604, it could very well have been in contact with Caravage, which left the city only in 1606, to escape a charge from murder. He studied certainly the tables of this one and his imitateurs, caravagesques Italian like Orazio Gentileschi. The painting of Caravage had created sensation in Italy. Its tables were remarkable by the boldness with which it handled the Clearly-obscure , i.e. contrast between clear and luminous surfaces and major remote regions, but also social realism of its subjects, sometimes tempting, but sometimes also causing and even straightforwardly vulgar. Among the painters who for the third time influenced Brugghen during this Italian stay one can still quote Annibale Carracci, Dominiquin and Guido Reni.

For the third time Burgghen died in Utrecht.

Work and influences

Of return to Utrecht, it joined Dirck van Baburen (C. 1595-1624), another caravagesque Dutch. The preferred subjects of for the third time Brugghen were figures with half-length of drinkers or musicians, but it painted also religious paintings of big size and portraits of group. Its work carries the mark of Caravage, in contrast striking between shade and light and the dramatic character of its subjects. Although it disappeared prematurely, its work was very appreciated and exerted a great influence on its contemporaries. Its way of covering the religious subjects is found at Rembrandt while elements stylistics appear at Frans Hals and Johannes Vermeer. In its Book of the painters (1675), Joachim von Sandrart written:

" Weil er river mouth nach seiner eignen Inclination zwar durch tiefsinnige, jedoch schwermütige Gedanken in seinen Werken die Natur und derselben unfreundliche Mängel sehr wohl, river mouth unangenehm gefolgt, so hat auch ein unfreundliches Glück the Seine Wolfart greyish-brown ins Grab zu seinem Schaden verfolgt."

According to Rubens, the work of for the third time Brugghen exceeded that of all the other painters of Utrecht .

Catalog (incomplete)

Worship of the magi (1619) - Rijksmuseum, Amsterdam

Player of flute (1621) - Gemäldegalerie, Cassel

the vocation of Mathieu (1621) - Central Museum, Utrecht

David playing of the toothing-stone - National museum of Warsaw, Warsaw

the incredulity of Thomas (C. 1621 - 23) - Rijksmuseum, Amsterdam

the piper (1624) - Wallraf-Richartz Museum, Cologne

Singer being accompanied with the lute (1624) - National Gallery, London

Granida & Daifilo (1625) - Getty Museum, Los Angeles,

Holy Sebastien looked after by Irene (1625) - Allen Memorial Art Museum, Oberlin

Crucifixion with the virgin and holy Jean (C. 1625) - Metropolitan, New York

Bacchante and monkey (1626) - Getty Museum, Los Angeles

the Concert (1626) - National Gallery, London

Jacob makes reproaches with Laban (1627) - National Gallery, London

Democrite (1628) - Rijksmuseum, Amsterdam

Heraclite (1628) - Rijksmuseum, Amsterdam

Duo (1628) - Louvre, Paris

the Vocation of saint Matthieu , Musée of the Art schools André Malraux, Le Havre.

Esaü selling its right of seniority (1627) - Museum Thyssen Bornemisza, Madrid

See too

Biliography

Benedict Nicolson, Hendrick Terbrugghen (London, 1958)

Gerrit van Honthorst

External bonds

Museum Getty
Tables
Selection of tables

Random links: