Abraham Bloemaert

Abraham Bloemaert
Abraham Bloemaert av Hendrick Snyers
FödelsenamnAbraham Bloemaert
Född1564
Gorinchem
Död1651
Utrecht
FöräldrarCornelis Bloemaert[1]
Konstnärskap
FältMålare och grafiker
RörelseManierism och Utrechtskolan
Redigera Wikidata (för vissa parametrar)

Abraham Bloemaert, född 25 december 1564 i Gorinchem, död 27 januari 1651 i Utrecht, var en nederländsk målare.

Abraham Bloemaert var son till arkitekten och bildhuggaren Cornelis Bloemaert den äldre. Han utförde målningar med bibliska och historiska ämnen samt stilleben och porträtt, men var även framgångsrik som kopparstickare.

Bloemaert företog flera resor, bland annat till Paris och Amsterdam, innan han slog sig ned i Utrecht, där han kom att spela en viktig roll i grundandet av Utrechtskolan. Hans målningar präglas till viss del av Caravaggios chiaroscuro. Bloemaert vann stor berömmelse och besöktes av bland andra Rubens och Elisabet av Böhmen.

Bland Bloemaerts elever fanns Gerrit van Honthorst och Hendrick Terbrugghen. Bloemaert har också ofta nämnts som Johannes Vermeers okända mästare.[2]

Av hans tavlor finns Neptunus triumf, Gubbe och Gumma på Nationalmuseum i Stockholm, och Niobe med flera verk på Kunstmuseet i Köpenhamn. Bloemaert representerad vid bland annat Göteborgs konstmuseum[3]

Hans båda söner Cornelis Bloemaert den yngre och Hendrick Bloemaert var kända nederländska konstnärer.

Fotogalleri

Källor

  • Svensk uppslagsbok, Malmö 1939

Noter

  1. ^ ECARTICO, läs online, läst: 8 januari 2024, licens: Creative Commons Erkännande-DelaLika 3.0 Nederländerna.[källa från Wikidata]
  2. ^ essentialvermeer.com
  3. ^ Göteborgs konstmuseum

Externa länkar

Media som används på denna webbplats

Abraham Bloemaert - Parable of the Wheat and the Tares - Walters 372505.jpg
In this parable from the Gospel of Matthew, the devil, identified by his horns and tail, sows weeds (or tares) in the field where wheat has been planted, while the lazy peasants are sleeping. Christians considered sloth one of the Seven Deadly Sins to which mankind was subject as a result of the Original Sin of Adam and Eve, to whom the two naked sleepers allude. The dovecote (a birdhouse to attract doves or pigeons that can be trapped for food without the bother of raising them) was associated with the morally lazy who take the easy way. The goat, known for its lust, alludes to self-indulgence, and the peacock, to pride. Bloemaert was gifted in depicting natural detail, but he never painted pure landscapes, preferring pictures with a lesson. He was one of the leading artists of Utrecht and trained many major artists of the next generation.
The Four Evangelists (Abraham Bloemaert).jpg
The four evangelists traditionally appeared alone, but in 1526, Albrecht Dürer showed two groups of two evangelists, and about 1566, Frans Floris showed all four together. Other artists followed suit. Bloemaert’s student Hendrick Terbruggen (1588–1629) and Peter Paul Rubens prolonged the theme, but it disappeared after 1621.

Here the Utrecht painter attempts to unify the evangelists and their symbols in a logical, horizontal composition. Luke with his ox, Mark with his lion, John with his eagle, and Matthew with his angel are gathered around a table, each figure intently writing his Gospel. Mark’s lion peeks out from underneath a heavy carpet. Bloemaert boldly poses Matthew with his back toward the viewer, perhaps to convey an impression of an uncontrived gathering of figures in a realistic setting. The scene is set in a shallow space, but the vibrant coloring of the figures, the angularity of their poses, and the frontal lighting give the composition a feeling of depth. Various naturally observed details stand out, such as the broken rush seat of Matthew’s humble chair and Luke’s ox, which gazes out from this learned gathering. The patron saint of artists and doctors, Luke is shown with the tools of these professions, including the artist’s palette and the doctor’s bottle for urine samples, and he is writing the Gospel in Greek characters. One of the folio volumes at his feet bears Bloemaert’s signature on the spine.

Utrecht was a Catholic stronghold, and ­Bloemaert, a practicing Catholic, was a founding member of its painter’s guild in 1611; he had patrons in both the Northern and the Southern Netherlands. The location for which this painting was commissioned has not been identified. The subject of the four evangelists appealed to both Catholics and Protestants, so it might have been a "safe" subject for a Northern Netherlandish Catholic church.
Grönsaksförsäljerska av Abraham Blomaert - Sörmlands museum - SLM14012.jpg
Oljemålning av holländaren Abraham Blomaert (1566-1651). Motiv: kvinna och man i ett grönsaksstånd (båda i bröstbild). Kvinnan bär en ljus storbrättad hatt över sitt bruna hår. Svart ram av trä, med pärlstav i guld.Sannolikt från 1600-talets förra hälft.