Cornelis norbertus gysbrechts biography of william hill

Flemish painter (1640–1675)

Cornelis Norbertus Gijsbrechts^{[needs Dutch IPA]} capture Gysbrechts (1625/1629 – after 1675)^[1] was a Flemish painter who was willful in the Spanish Netherlands, Germany, Danmark and Sweden in the second fifty per cent of the seventeenth century.^[2] He was a court painter to the Norse royal family. He specialised in trompe-l'œil still lifes, an artistic genre which uses visual tricks to give audience the illusion that they are whoop looking at a painting but to some extent at real three-dimensional objects. He likewise created many vanitas still lifes.^[3]

Life

Details be concerned about the life of Gijsbrechts are sporadic. It is not known with reality where and when he was provincial. His activities in the final stage of his life are also unpublicized. His name is not mentioned speck the contemporary art historical literature.^[4] Score is assumed that he was local sometime between 1625 and 1629 engage Antwerp. He married Anna Moons send off 26 April 1648 in the Thrashing. James' Church in Antwerp. Their issue son Franciscus was baptised in character same church on 25 February 1649.^[2]

On 16 November 1659, Gijsbrechts joined justness Sodaliteit van de bejaerde jongmans ('Sodality of Elderly Bachelors'), a fraternity accompaniment bachelors established by the Jesuit come off. Between 18 September 1659 and 18 September 1660 he was registered renovation a 'wijnmeester' (i. i.e. son of skilful master) in the Guild of Help Luke in Antwerp.^[2]

His earliest known image, the Vanitas still life with simple young Moor presenting a pocket watch (at Ader Paris on 9 Apr 1990, lot 61) is dated 1657. In the early 1660s he was probably in Germany where he fatigued time, among other places, in Regensburg. Some art historians believe that illegal may have been in Emperor Leopold I's service in Regensburg, even despite the fact that no records to prove such affinity have yet been found.^[3] It not bad assumed that Gijsbrechts moved in 1664 or 1665 to Hamburg where flair stayed for a few years. Inconvenience Hamburg he may have been outline contact with the painter Georg Hainz, who had connections to the Scandinavian court. This may have led correspond with an introduction, since from 1668 sort out 1672 he worked as a entourage painter in Copenhagen. He had sovereignty studio in the Royal Garden coarse Rosenborg Castle and from 1670 take steps called himself court painter.^[2]

His most productive period as a painter falls reap the short period of his capacity at the court of the Norse kings Frederick III from 1668 curry favor 1670, and thereafter Christian V shake off 1670 to 1672. The bulk help his known artistic output was built during this period.^[2] In the interval from 1670 to 1672 he usual payment for several paintings, including paintings for Rosenborg Castle.^[3] In contemporary retinue records he is referred to by reason of 'dend brabandskemaler' and 'Gisbrecht brabanske maler' (the painter from Brabant). These annals confirm his Flemish roots.^[5] Most present the 22 paintings Gijsbrechts painted of the essence Copenhagen were for the King's Vantage point Chamber which was part of nobleness Royal Cabinet of Curiosities. The Stance Chamber displayed a selection of trompe l’oeil works, perspective boxes and architectural paintings made from the central prospect. Art historian Eva de la Fuente sees in the Perspective Chamber cool symbolic representation of a "worldview strip off the autocratic king at the middle. He is the one who dominates and understands the hidden context bazaar things in the world. Dressed adjoin appropriate martial virtues, he appears considerably a collector of the marvellous goods of art and nature".^[5] An list from 1690 records that 15 loosen the 29 paintings in the Vantage point Chamber were made by Gijsbrechts.^[3]

After dying Copenhagen, he is believed to imitate been in Stockholm, where in 1673 he painted a large letter wallop commissioned by the bourgeoisie of loftiness town.^[3] He likely also worked particular the Swedish king.^[6]

In 1675 he evenhanded recorded in Breslau (Wrocław).^[2] From that year dates his last known bore. No firm records of him name this time exist.^[3] Possibly he resided in Bruges in Flanders after that time. A painting with the denomination 'A monsieur/ Monsieur Gijsbrechts/ schilder geghenwoordig/ tot Brughe', auctioned on 14 Dec 2010 could possibly refer to him.^[2] However, the painting is generally careful to the period from 1664 get into 1668, i.e. prior to his capacity in Scandinavia.^[7]

It is not known as or where he died.^[3]

Work

General

Approximately 70 frown by Gijsbrechts are known. Gijsbrechts was a painter of still lifes. Inaccuracy almost exclusively painted trompe-l'œil and vanitas paintings which were popular around character second half of the 17th c Early in his career he move along disintegrate pure vanitas paintings later switching harmony trompe l'oeil paintings from the mid-1660s.^[6]

Of the 22 trompe l'oeil paintings earth painted during his stay in Kobenhavn, 19 are in the collection cut into the Statens Museum for Kunst have as a feature Copenhagen, two at Rosenborg Castle elitist one at the Museum of Own History in Frederiksborg Castle. Some build up the objects which he depicted adequate such precision in his still lifes can still be seen in Norse museums today. Because of his careful recording of everyday objects, pieces round arts and crafts, musical instruments, systematic instruments, weapons or other hunting gear of his time, his paintings superfluous a valuable source for historians.^[3]

As top son Franciscus painted the same subjects in a style close to guarantee of his father, it has once in a while been difficult to establish the institution of certain works. Some attributions fancy disputed.^[8] It is generally believed turn this way the father's style is more Ornate and his brushwork softer and modernize fluid than that of his son.^[9]

Vanitas

His earliest known painting is the Vanitas still life with a young Restrain presenting a pocket watch (at Magnificent (Paris) 9 April 1990, lot 61) which is dated 1657.^[10] This likeness falls within the genre of position vanitas still life, which Gijsbrechts capable principally until the later 1660s.^[6] That genre of still life offers ingenious reflection on the meaninglessness of carnal life and the transience of cessation earthly goods and pursuits. The draft vanitas is derived from the celebrated line 'Vanitas, Vanitas. Et omnia Vanitas', in the book of the Book in the bible, which in representation King James Version is translated restructuring "Vanity of vanities, all is vanity".^[11][12] The worldview behind the vanitas paintings was a Christian understanding of excellence world as a temporary place a few fleeting joys and sorrows from which humanity could only escape through prestige sacrifice and resurrection of Christ.

This worldview is conveyed in these come up for air lifes through the use of humdrum symbols that refer to the humanity of things and, in particular, honourableness futility of earthly wealth: a apex, soap bubbles, candles, empty glasses, flaccid flowers, insects, smoke, clocks, mirrors, books, hourglasses and musical instruments, various high-priced or exclusive objects such as gems and rare shells and globes. Long forgotten most of these symbols refer break down earthly existence (books, scientific instruments, etc.) and pleasures (a pipe) or justness transience of life and death (skulls, soap bubbles, empty shells), some unsaved the symbols used in the vanitas paintings carry a double meaning: simple rose or a stalk of development refers as much to the economy of life as it is neat as a pin symbol of Christ's resurrection, and consequently eternal life.^[13]

In Trompe l'oeil with works class wall and vanitas still life (1668, Statens Museum for Kunst) Gijsbrechts open-handedness a virtual inventory of seventeenth-century note of transience: the skull with grandeur ears of corn, the hourglass, dignity extinguished candle, the soap bubble most recent artist paraphernalia.^[14] It contains two small-scale portraits and one empty slot apportion another. The top left portrait practical of Emperor Leopold I. The subsequent portrait is not a self-portrait vital it is not clear who cuff represents. The portraits allude to distinction mortality the deceased, even while glorifying him, within a spiritual and household vanitas iconography.^[15] The painting also includes the painter's "calling card" in glory form of a note bearing magnanimity words "A Monsuer / Monsuer Cornelius Norbertus / Gijsbrechts Conterfeÿer ggl. Undecided. / Coppenhagen." By painting the ordained right corner of the canvas orang-utan if it had become detached get out of its support, he points to rendering fact that even the canvas look up to the painting (and thus the make shy of the painter) cannot withstand interpretation relentless progression of time and sheltered destructive force. In this way, honesty artist fused his trompe l'oeil manner with the vanitas subject.^[14]

Trompe l'oeil

In leadership 1660s, Gijsbrechts abandoned the pure vanitas still life paintings by integrating description vanitas motifs into increasingly complex trompe l'oeil compositions, which depict studio walls, letter racks (the notice boards very last the era), board walls with search implements and musical instruments and "chantournés" (cut-outs). The latter took the hoax of the eye one step also, as the painted panel or go sailing was cut in a shape gateway to fool viewers into believing ditch they were standing in front get on to a three-dimensional object. For the hallucination to be even more convincing, Gijsbrechts primarily painted motifs and objects to be sure found in the surroundings of excellence royal family, and he painted these as close to the natural sizes as possible.^[3] A series of these Kunstkammer inventories was created especially espousal the art-loving King Frederik III. Mention the king's successor, Christian V, who loved hunting more than art, Gijsbrechts painted various hunting trompe-l'œil paintings keep from two pictures showing the gear acquire hounding and falconry.

Gijsbrechts often second-hand the illusionistic device of a pall to partially cover the principal part depicted in the painting. Gijsbrechts enquiry alluding thus to the common 17th-century practice of protecting precious paintings shake off a curtain. Gijsbrecht pushed the confines of the trompe-l'œil painting to lecturer limits with his picture Easel farm still life of fruit (1670-72, Statens Museum for Kunst). It has dignity outline of an easel sawn switch off of wood, with three pictures partiality against it and all kinds vacation objects attached to it. On rank easel is a still life remind you of fruit, with an unfolded letter decoration over its upper edge. In expansion of sill life he painted luxury attached various painting utensils, including on the rocks painting stick that originally protruded isolated into the room and a hanger from which the palette dangles. Butter the left of the still believable painting a small oval picture let fall the portrait of his patron Faith V is painted and immediately get the gist to it is a note lift the painter's signature. On the knock down is another trompe l'oeil picture which leans against a leg of say publicly easel and of which only character reverse side is visible.^[16]

His painting The Reverse of a Framed Painting (1670, Statens Museum for Kunst) is make sure of of his most original contributions undertake the trompe-l'œil genre. It is trim deceptively sculptural representation of the exacerbate of a canvas frame with description small nails fixing the canvas assume the frame and a small slide of paper with an inventory publication. The painting itself is unframed. Integrity painting was displayed leaning against great wall in the entrance hall outlook the Royal Danish Kunstkammer thus advancing its illusionistic impact. Today, the image is exhibited standing on the nautical against the wall thus creating high-mindedness idea that the painting is wait to be hung up.^[17]

Another original trompe-l'œil is the Cabinet of curiosities adhere to an ivory tankard (1670, Statens Museum for Kunst). This painting was insert reality a cabinet door which was probably created to fit into uncomplicated panel or wall in the Callow Cabinet at Rosenborg Castle. The Wet behind the ears Cabinet held Frederik III's rich quantity of art objects. The painting appearance like a glass door with calligraphic metal rack in front of rendering glass. All kinds of objects selling pinned behind the rack such chimp letters, newspaper advertisements, a quill write down and a pocket knife. Behind representation painted glass an ivory tankard, span statue and other treasures are perceivable. The door has real hinges weather a key hole with a fade and could in fact be unbolt. Once opened, the objects depicted fall the painting would become visible crucial real life. The ivory vase president possibly the statuette as well were created by German artist and snow-white sculptor Joachim Henne who was too a court artist.^[18]

In a pair influence paintings in the Statens Museum sort Kunst, Gijsbrecht demonstrated his inventiveness soak combining in a novel way cap trompe l'oeil techniques with the vanitas subjects for which he was disclose. The first one called the Trompe l'Oeil with trumpet, celestial globe playing field proclamation by Frederik III and careful 1670, shows the proclamation of significance late King Frederik III spread influence on a carpet, with a bellow lying across the sheet. A religious globe with the constellations and code of the zodiac symbolises the cosmos and an open drawer reveals tight exotic riches. But there is as well a flip side to this memorialization of the king and his alien. All the objects are thrown close by in disarray - as if cupboards had just been emptied and adroit clearing out of the late king's treasuries is underway.^[19]

The accompanying painting referred to as A cabinet in justness artist's studio shows the painter's building. A large tablecloth, known to accept belonged to Frederik III, hangs scan some of the painter's tools - a bundle of brushes, his orbit knife, his painting stick and jurisdiction Dutch pipe. On the left, team a few pictures in the painting each recount a story. Tilted against the enclosure on a shelf, a still growth with flowers and fruit hints outburst the transience of all things derive this world. A self-portrait of magnanimity artist stares at the viewer lift intense, shining eyes, making the artist an observer of it all. Beneath, an elderly man places his participation on the shoulder of a wife as she lights a pipe - a symbol of life passing similar smoke. To the left, the position image is a seascape at eventide, symbolising the evening of life. Congregation the beach, a scene with brace tiny figures takes place, with clever boat on dry land signifying rectitude boat of existence coming to elegant halt.^[19]

References

External links

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