Maerten van heemskerck biography template

Maarten van Heemskerck

Dutch painter (–)

In this Dutch name, the surname is van Heemskerck, not Hermskerck.

Maarten van Heemskerck (born Maerten Jacobsz van Veen; 1 June – 1 October ), also known as Marten Jacobsz Heemskerk van Veen, was a Dutch portrait and religious painter, who spent most of his career in Haarlem.

He was a pupil of Jan van Scorel, and adopted his teacher's Italian-influenced style. He spent the years –36 in Italy. He produced many designs for engravers, and is especially known for his depictions of the Wonders of the World.

Biography

Early life

Heemskerck was born in the village of Heemskerk, North Holland, halfway between Alkmaar and Haarlem.

He was the son of a farmer called Jacob Willemsz. van Veen, later buried in the village churchyard. According to his biography by Karel van Mander, he began his artistic training with the painter Cornelius Willemsz in Haarlem, but was recalled to Heemskerk by his father to work on the family farm. However, having contrived an argument with his father he left again, this time for Delft, where he studied under Jan Lucasz, before moving on to Haarlem, where he became a pupil of Jan van Scorel, learning to paint in his teacher's innovative Italian-influenced style.^[1]

Heemskerck then went to lodge at the home of the wealthy curate of the Sint-Bavokerk, Pieter Jan Foppesz (whose name van Mander writes as Pieter Ian Fopsen).

They knew each other because Foppesz owned land in Heemskerk. The artist painted him in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.^[2] His other works for Foppesz included two life size figures symbolising the Sun and the Moon on a bedstead, and a picture of Adam and Eve "rather smaller but (it is said) after living models".^[1] His next home was in the house of a goldsmith, Justus Cornelisz, on the edge of Haarlem.^[1]

Before setting off for Italy on a Grand Tour in , Heemskerck painted a scene of St.

Luke painting the Virgin for the altar of St. Luke in the Bavokerk. An inscription, incorporated into a trompe-l'œil label on the painting begins "This picture is a remembrance from its painter, Marten Heemskerck; he has here dedicated his labours to St Luke as a proof of regard to his associates in his profession, of which that saint is patron".^[1]^[3]

Italy

He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal^[4]William of Enckenvoirt.

It is evident of the facility with which he acquired the rapid execution of a scene-painter that he was selected to collaborate with Antonio da Sangallo the Younger, Battista Franco and Francesco de' Rossi (Il Salviati) on the redecoration of the Porta San Sebastiano at Rome as a triumphal arch (5 April ) in honour of Charles V.^[4]Giorgio Vasari, who saw the battle-pieces which Heemskerk then produced, said they were well composed and boldly executed.

While in Rome where he made numerous drawings of classical sculpture and architecture, many of which survive in two sketchbooks now in the Kupferstichkabinett Berlin. He was to use them as source material throughout the rest of his career.^[5] Among these are the Capitoline Brutus, van Heemskerck being the first known artist to make a sketch of this now famous bust.

A hypothesis put forward in ^[6] and explained in ^[7] stating that the drawings in the two Berlin scrapbooks were not executed by Maarten van Heemskerck and the Anonimi A and B, but with a few exceptions entirely by the sculptor Cornelis Floris II and dated between /36 and , was not taken up by archaeological and art-historical research and was refuted by several contributions to the Berlin exhibition catalog “The Allure of Rome.

Maarten van Heemskerck draws the city."^[8]

Not only the provenance history of the Roman sketchbook, but above all stylistic and handwritten comparisons confirm Van Heemskerck's authorship.^[9] In addition, Van Heemskerck often reused Roman motifs from his drawings in later works, which would not have been possible if Cornelis Floris, who worked in Antwerp, had been the author.

The results of the art technological examination of also contradict the hypothesis, as the ink of the drawings in the Roman sketchbook has the same composition as the undoubtedly autograph sheets of larger format, some of which are signed and dated.^[10]

Later career

On his return to the Netherlands in , he settled back at Haarlem, where he became president of the Haarlem Guild of Saint Luke (in ),^[4] married twice (his first wife and child died during childbirth), and secured a large and lucrative practice.^[4]

The alteration in his style, brought about by his experience of Italy was not universally admired.

According to van Mander, "in the opinion of some of the best judges he had not improved it, except in one particular, that his outline was more graceful than before".^[1]

He painted large altarpieces for his friend, the art maecenas and later Catholic martyr of the Protestant Reformation, Cornelis Muys (also known as Musius).

Muys had returned from a period in France to the Netherlands in and became prior of the St. Agatha cloister in Delft (later became the Prinsenhof).^[11] This lucrative and high-profile work in Delft earned Heemskerck a commission for an altarpiece in the Nieuwe Kerk (Delft) for their Guild of St. Luke.

In he became curate of the Sint-Bavokerk, where he served for 22 years (until the Protestant reformation). In he left Haarlem for Amsterdam, to avoid the siege of Haarlem which the Spaniards laid to the place.^[4]

Engravings

He was one of the first Netherlandish artists to make drawings specifically for reproduction by commercial printmakers.

He employed a technique incorporating cross-hatching and stippling, intended to aid the engraver.^[5]

Wonders of the World

Heemskerck produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world.

Maerten van heemskerck biography template pdf External links [ edit ]. Biblical representations, lessons for everyday life and the history of the world: the purpose of Heemskerck's designs is education. Bernard and St. Maarten van Heemskerck was a Dutch painter and draftsman born in the Netherlands in and active until his death in

His addition to the conventional list was the Colosseum in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of Jupiter in the centre.^[12] They were engraved by Philip Galle and published in ^[13]

Paintings

Many works by van Heemskerck survive.

Adam and Eve and St. Luke painting the Likeness of the Virgin and Child in presence of a poet crowned with ivy leaves, and a parrot in a cage – an altar-piece in the gallery of Haarlem, and the Ecce Homo in the Museum of Fine Arts in Ghent, are characteristic works of the period preceding van Heemskerck's visit to Italy.^[4] An altar-piece executed for the St.

Laurence Church of Alkmaar in –, composed of at least a dozen large panels, which including portraits of historical figures, preserved in Linköping Cathedral, Sweden since the Reformation, shows his style after his return from Italy.^[4]

He painted a crucifixion for the Riches Claires at Ghent (now in the Museum of Fine Arts, Ghent) in , and an altar-piece for the Drapers' Company at Haarlem, finished in and now in the gallery of the Hague.^[4] They show how Heemskerck studied and repeated the forms which he had seen in the works of Michelangelo and Raphael at Rome, and in the frescoes of Andrea Mantegna and Giulio Romano in Lombardy, but he never forgot his Dutch origin or the models first presented to him by Scorel and Jan Mabuse.^[4]

In , Heemskerck painted a large, now dismembered triptych, the remains of which are today divided between the Musée des Beaux-Arts de Strasbourg (Adam and Eve/Gideon and the Fleece), and the Museum Boijmans Van Beuningen (The Visitation).

As late as , he then produced a copy from Raphael's Madonna of Loreto^[4] (Frans Hals Museum). In , he painted a view of a bull race inside the Colosseum of Rome (Palais des Beaux-Arts de Lille). A Judgment of Momus, dated , in the Gemäldegalerie, Berlin, shows that he was well acquainted with anatomy and fond of florid architecture.^[4] Two altar-pieces which he finished for churches at Delft in and , one complete (St.

Luke painting the Virgin), the other a fragment, in the museum of Haarlem, a third of in the Brussels Museum, representing Golgotha, the Crucifixion, the Flight into Egypt, Christ on the Mount, and scenes from the lives of St. Bernard and St. Benedict, are all fairly representative of his style.^[4]

There is a Crucifixion in the Hermitage Museum of Saint Petersburg, and two Triumphs of Silenus in the gallery of Vienna.

Other pieces of varying importance are in the galleries of Rotterdam, Munich, Cassel, Brunswick, Karlsruhe, Mainz, Copenhagen,^[4] Strasbourg and Rennes.

Parrots

In his depiction of Saint Luke painting the Virgin, which Heemskerck painted twice for two painter's guilds, there is some confusion in the literature about a parrot.

In both paintings he painted a parrot, but the parrot in a cage has been sawn off the first painting and is no longer visible.^[17]

Death

In Amsterdam he made a will, which has been preserved.

Maerten van heemskerck biography template download: He painted large altarpieces for his friend, the art maecenas and later Catholic martyr of the Protestant Reformation , Cornelis Muys also known as Musius. Hungarian Composer and Violinist Joseph Joachim. Your email address will not be published. Image: A self-portrait of Heemskerck.

It shows that he had lived long enough and prosperously enough to make a fortune. At his death, he left money and land in trust to the orphanage of Haarlem, with interest to be paid yearly to any couple who should be willing to perform the marriage ceremony on the slab of his tomb in the cathedral of Haarlem.

It was a superstition in Catholic Holland that a marriage so celebrated would secure the peace of the dead within the tomb.

Reputation

Heemskerck was widely respected in his own lifetime and was a strong influence on the painters of Haarlem in particular. He is known (along with his teacher Jan van Scorel) for his introduction of Italian art to the Northern Netherlands, especially for his series on the wonders of the world, that were subsequently spread as prints.

Karel van Mander devoted six pages to his biography in his Schilder-boeck.

Public collections

References

^ ^a^b^c^d^evan Mander, Karl; Kerrich, Thomas (translation) ().

"The Life of Martin Heemskerck". A Catalogue of the Prints which have been Engraved after Martin Heemskerck. London: J. Rodwell.. Translated from a biography in Het Schilder-boeck, Haarlem, (available as a Dutch online text from the DBNL; a more modern translation is in The Lives of the Netherlandish and German Painters, H.

Miedema, ed. –9)
^retrieved July Families in beeld, – Frauke K. Laarmann, Families in beeld: De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zeventiende eeuw. Hilversum, , Verloren, ISBN&#;
^"Ter eeren S. Lucas heeft hy't bedreven/Dus ghemeen ghesellen heeft hy mede bedacht."
^ ^a^b^c^d^e^f^g^hⁱ^j^k^l^m&#;One or more of the preceding sentences&#;incorporates text from a publication now in the public domain:&#;Chisholm, Hugh, ed.

(). "Heemskerk, Martin Jacobsz". Encyclopædia Britannica. Vol.&#;13 (11th&#;ed.). Cambridge University Press.
Maerten van Heemskerck - National Gallery of Art
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Biography of the Maarten-van-Heemskerck - Wonders of the world, carousel
Maarten Van Heemskerck - Encyclopedia.com
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^ ^a^bFifteenth to Eighteenth Century Eighteenth Century Drawings in the Robert Lehman Collection: Central Europe. New York: Metropolitan Museum of Art. p.&#;
^Thürlemann, Felix (28 April ). "Weshalb die 'Römischen Skizzenbücher von Marten van Heemskerck' nicht von Heemskerck stammen können: Quellenkritische, überlieferungsgeschichtliche und kennerschaftliche Anmerkungen zu zwei Neuerscheinungen".

Inquiries into Art, History, and the Visual (in German). 2 (1): 47– doi/xxi ISSN&#;
^Thürlemann, Felix (). Der Blick des Pan. Cornelis Floris und die 'Heemskerck'-Skizzenbücher. 2 vol. Reimer Verlag - Edition Imorde.
^Büttner, Nils; Dietz, Georg Josef; Eising, Erik; Fontolan, Enrico; Kessler, Hans-Ulrich; Mattei, Francesca; Mazzetti di Pietralata, Cecilia; Miedema, Nine Robijntje; Penz, Antje ().

Heemskerk, Maarten van; Melzer, Christien; Bartsch, Tatjana (eds.).
Maerten van heemskerck biography template He was a prominent figure of the Northern Renaissance, known for his religious and mythological subjects, as well as his detailed portraits. Retrieved 22 April As a result, he had a large production and quickly gained fame, because almost all prints of his design bear his name. Dirck Volkertsz.
The Allure of Rome: Maarten van Heemskerck Draws the City. Kupferstichkabinett, Bibliotheca Hertziana, Kulturforum Berlin. Berlin: Kupferstichkabinett - Staatliche Museen zu Berlin. ISBN&#;.
^Bevers, Holm (). "On the Roman Drawings of Maarten van Heemskerck". Master Drawings.

LXII (3): –
^G.J. Dietz, A. Penz, C. Wintermann, "Materials, Techniques, and Reconstruction of the Small Drawing Book", in: The Allure of Rome. Maarten van Heemskerck Draws the City, Exh.-Cat. Berlin , Munich ,pp. 99–
^Cornelis Musius in NL Wikipedia
^Kerrich , p
^"The eight wonders of the world".
Maerten van heemskerck biography template free Read Edit View history. Leave a Reply Cancel reply Your email address will not be published. Notably, Heemskerck was the first known artist to sketch the famous Capitoline Brutus bust, underscoring his role in documenting and preserving classical art forms. He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal [ 4 ] William of Enckenvoirt.
British Museum.
^AdSummus, for Art History with Michelli. "Hanging Gardens—Images". .
^"Heemskerck's Style and Technique". Drama and Devotion: Heemskerck's "Ecce Homo" Altarpiece from Warsaw. Retrieved 23 July
^"Panorama with the Abduction of Helen Amongst the Wonders of the Ancient World".
Maerten van heemskerck biography template excel These works demonstrate his continuous evolution as an artist, adept at blending diverse stylistic elements to create harmonious and impactful compositions. In both versions of this subject, a parrot features prominently—initially in a cage and later held by the baby Jesus. Miedema, ed. This use of animal motifs not only enhances the visual appeal of his paintings but also serves to deepen the narrative and thematic complexity of his religious subjects.
The Walters Art Museum.
^ ^a^bHet Schilderboek: Het Leven Van De Doorluchtige Nederlandse En Hoogduitse Schilders. Carel van Mander, with notes, ISBN&#; ISBN&#;
^"Heemskerck, Mary Magdalene". The Courtauld Institute of Art. Retrieved 22 April
^"Museum Boijmans Van Beuningen".

. Archived from the original on 4 March Retrieved 1 September
^"A sheet of studies after the Antique". . Retrieved 22 April
^"Marten van Heemskerck | The Virgin and Saint John the Evangelist | NG | National Gallery, London". . Retrieved 22 April
^"Search - Rijksmuseum".

Rijksmuseum.
^"Heemskerck – peinture". . Musées de la ville de Strasbourg. Retrieved 21 June
^"Exchange: The Resurrection". . Retrieved 22 April
^"Autorretrato". .
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Retrieved 7 July

Sources

Kerrich, Thomas (). A Catalogue of the Prints which have been Engraved after Martin Heemskerck. London: J. Rodwell. Includes an English translation of van Mander's biography of Heemskerck.