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View artworks’ titles of oil painting old
master Aertsen Pieter Holland 1508-1575 0 Peasant s Feast 0 Apostles Peter And John 0 Christ And The Adulteress 0 Aertsen Pieter Market Scene 4 by Holland oil painting old paintings artists supply Toperfect Arts 4 Cook In Front Of The Stove 4 Market Scene 4 Market Scene Detail 5 Aertsen Pieter Vendor Of Fowl by Holland oil painting old paintings artists supply Toperfect Arts 6 Market Scene 3 |
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6 Market Woman With Vegetable Stall 6 Still Life 6AERTSEN Pieter Vendor Of Vegetable by Holland oil painting old paintings artists 7 Butchers Stall 7 Market Scene 2 7 Peasants By The Hearth 7AERTSEN Pieter The Egg Dance by Holland oil painting old paintings artists |
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| Biography of master old oil painting artist Pieter Aertsen what we can copy |
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Pieter Aertsen Also known as: Pieter Aerston, Lange Pier
Aertsen, Lange Reyer Aertsen, Peter Aertsen,
Pieter Aertsz, Pieter Aertsz., Jonge Pier
Aertsen. |
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Aertsen, Pieter (b. 1508-09,
Amsterdam, d. 1575, Amsterdam).
Netherlandish painter, active in his native
Amsterdam and in Antwerp. A pioneer of still
life and genre painting, Pieter Aertsen is best known
for scenes that at first glance look like
pure examples of these types, but which in
fact have a religious scene incorporated in
them (Butcher's Stall with the Flight into
Egypt, University of Uppsala, 1551). His
depictions of food, flowers, and everyday
objects make him important in the
development of still-life painting. Aertsen
was the head of a long dynasty of painters,
of whom the most talented was his nephew and
pupil Joachim
Bueckelaer. |
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During his first years in Antwerp Pieter
Aertsen was
mainly commissioned to make altarpieces for
Dutch churches. Before long Pieter Aertsen also started
to paint scenes from peasant life and Pieter
Aertsen gained a reputation for his paintings of
market scenes and "kitchen" tableaux, which
contained an abundance of fruit, fish,
poultry, cheese, bread and much more. Renowned today as the painter of "kitchens" (Christ with Maria and Martha), featuring an opulent and familiar realism, Pieter Aertsen is in fact a varied and ambitious painter, tackling both religious compositions, genre scenes and portrait: his career can be traced between 1543 and 1571 with a series of signed and dated artworks. Today Pieter Aertsen is considered as important as Bruegel among 16th century painting: a powerful and monumental artist, using splendid and frank tones, announcing the Flemish still-life developments with such realism and surcharge of details. |
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His compositions packed at the front with
vegetables reflect a mannerist pathos
specific to the 16th century; however if
religious figuration is often relegated in
the background in a subordinated position (a
scheme that will later have much success,
among his younger cousin and pupil
Beuckelaer for instance, who took over this
style of painting and developed it further),
the religious painter should not be ignored,
with such massive formats and powerful
ambitions. Pieter Aertsen was tormented by iconoclasts
and practiced a heroic and dignified style,
close to and competing with Floris. Earlier the painting was attributed to Joachim Beuckelaer, Aertsen's pupil. Iconoclast Fury - Aertsen Pieter oil painting Holland old paintings artist - Aertsen Pieter oil painting Holland, old oil painting Aertsen Pieter by artist paintings, Biography Holland oil paintings artists, Holland old oil paintings Aertsen Pieter. During the religious riots of 1566, radical Protestants destroyed statues in Catholic churches and monasteries. It began on 10 August in Steenvoorde in West Flanders. Following a sermon by a Calvinist minister, part of the congregation forced its way into the nearby St Lawrence monastery and smashed all the statues. It was the beginning of a wave of destruction which quickly spread across the rest of the country. This was the culmination of a series of events. The repression of church reform had raised tensions to breaking point. Moreover, unemployment and poverty were rife in this period of economic crisis: the seedbed of social unrest. Defacing the churches was justified by the Calvinist belief that statues in a house of God were idolatrous images which must be destroyed. |
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