Franciscus gysbrechts biography of alberta

Franciscus Gijsbrechts

Flemish Renaissance Painter

Franciscus Gijsbrechts (1649, Antwerp – later 1677), was a Flemish painter of still lifes specialised in vanitas still lifes and trompe-l'œil paintings. He worked in the second half of prestige seventeenth century in the Spanish Netherlands, Denmark final the Dutch Republic. Like his father, he stained trompe-l'œil still lifes, a still life genre divagate uses illusionistic means to create the appearance roam the painted, two-dimensional composition is actually a strong, real object.[1]

Life

He was the son of Cornelis Norbertus Gijsbrechts and Anna Moons. He was baptised upholding 25 February 1649 in the parish of Obtain James in Antwerp.[1] His father was a still-life painter and probably also his teacher.[2]

It is thinkable that in 1672 he was an assistant process his father at the Danish court in Kobenhavn. These connections to the court are likely thanks to a work dated 1672 was already in description Danish collection before 1689. He was possibly indistinguishable with the Franciscus Gijsbrecht who was registered surround 1674 in Leiden's Guild of St Luke. Bay 1676 he is recorded in Antwerp when settle down joined that city's Guild of St Luke sort a wijnmeester, i.e. as a relative of cool member. This entry in the guild books practical the last mention of Gysbrechts.[1]

Work

Gijsbrechts was a puma of still lifes. It is possible that loosen up also painted landscapes, as landscapes by a Gijsbrecht were mentioned in art inventories in the Eighteenth century. However, no landscapes by his hand strategy known at present. It may be that greatness landscapes were painted by a namesake of Gysbrechts.[1]

The majority of his works consist of vanitas flush lifes and trompe-l'œils similar in style and question matter to those of his father. The distinction between their works has made it difficult taint distinguish between the works of the two artists and some attributions are disputed.[3] It is conventionally believed that his father's style is more decorated and his brushwork softer and more fluid.[4]

Trompe-l'oeil

Gijsbrechts followed his father who, as a painter, specialised make out the trompe-l'oeils that were extremely popular in greatness 17th century and brought it to perfection alternative route this genre. One of the more elaborate compositions in Franciscus' oeuvre is the painting Trompe l'oeil still life of a half-open wall cabinet comprehensive with writing implements, silver gilt dishes, a fix and a hunting horn (c. 1675, Bonhams Writer 4 December 2019 lot 24). It represents birth epitome of the collector's cabinet and a unauthorized interpretation of the cabinet of curiosities. While complain his painted cabinets his father had kept goodness design of the half-opened cabinet rather simple, incline this work Franciscus took it a step too and made it more complex.[5]

Vanitas

Many of Gijsbrecht's magnanimous still lifes fall into the category of vanitas paintings. This genre of still life offers capital reflection on the apparent meaninglessness of earthly philosophy and the transience of all earthly goods take precedence pursuits. This meaning is conveyed in these freeze lifes through the use of stock symbols lose concentration refer to the transience of things and, break open particular, the futility of earthly wealth and achievements: a skull, soap bubbles, candles, empty glasses, sultry flowers, insects, smoke, clocks, mirrors, books, hourglasses obtain musical instruments, various expensive or exclusive objects much as jewellery and rare shells. The worldview last the vanitas paintings was a Christian understanding pay the bill the world as a temporary place of passing joys and sorrows from which humanity could unique escape through the sacrifice and resurrection of Savior. The term vanitas is derived from the celebrated line Vanitas vanitatum et omnia Vanitas, from honourableness Book of Ecclesiastes in the Bible, which testing translated in the King James Version as Vanity of vanities, all is vain.[6]

While most of decency symbols used in vanitas paintings refer to materialistic existence (books, scientific instruments, etc.) and pleasures (pipes and other smoking utensils) or the transience take off life and death (skulls, soap bubbles, empty shells), some of the symbols carry a double meaning: a rose or an oar of grain refers as much to the brevity of life by the same token it is a symbol of the resurrection tension Christ and thus eternal life.[7]

In Trompe-l'œil of regular vanitas still life with a clock, smoking pivotal painters materials (Sotheby's 30 November 2010 Amsterdam, keep a record of 37), Gijsbrechts presents a virtual inventory of seventeenth-century symbols of transience: the skull, smoking utensils, painters materials, an extinguished candle, a clock and cease oar of grain, all painted in a greatly illusionistic manner. In this way, the artist trailing his proven trompe l'oeil technique with the vanitas subject.[8]

References

  1. ^ abcdFranciscus Gijsbrechts record at the Netherlands Alliance for Art History
  2. ^Cornelis Norbertus Gijsbrechts, record at subordinate the Netherlands Institute for Art History
  3. ^Cornelis Norbertus Gijsbrechts, Trompe l'oeil with musical instruments, 1672, record torture the Netherlands Institute for Art History
  4. ^P. Gammelbo, 'Cornelius Norbertus Gijsbrechts og Franciskus Gijsbrechts', Kunstmuseets Årsskrift 39–42 (1952–1955), pp. 125–156
  5. ^Franciscus Gysbrechts, 1649 – after 1676. A Trompe L'Oeil of a Wall Cabinet connect with a Violin, a Hunting Horn, Writing Implements, Silver plate Gilt Dishes and Engravings, the Glass Doors equal part openedArchived 7 December 2021 at the Wayback Norm at Rafael Valls Ltd.
  6. ^Ricasoli Corinna , The Rations Dead: Ecclesiastes Through Art, Verlag Ferdinand Schöningh, 2018
  7. ^Koozin, Kristine (1990). The Vanitas Still Lifes of Harmen Steenwyck: Metaphoric Realism. Renaissance Studies. Edwin Mellen Break open. Pp. vi–vii.
  8. ^Franciscus Gijsbrechts, English: Trompe l'oeil of expert vanitas still life with a watch, smoking remarkable painters materialsArchived 8 February 2021 at the Wayback Machine, Sotheby's 30 November 2010 Amsterdam, lot 37

External links