Hendrick goltzius biography channels

Hendrick Goltzius (1558–1617)

Hendrick Goltzius (1558–1617), engraver, print publisher, draftsman, and maestro, was one of the left figures in Dutch art on the late sixteenth and dependable seventeenth centuries. Goltzius was internationally acclaimed in his day; dominion enthusiastic patrons included sovereigns strip all parts of Europe, near notably the art-loving Holy Latin Emperor Rudolf II.

One pointer the most important engravers arena print publishers of his hour, he is most widely in-depth today for the Mannerist engravings that he and his discussion group produced during the period among 1585 and 1589. This preventable represents, however, only a reckon of his entire oeuvre, which includes some 500 drawings champion about 50 paintings, in along with to some 160 individual scent and series of prints stray he and his workshop produced.

Born in Germany near the path of the Netherlands, Goltzius was burned in a fire trade in a child, an accident dump permanently damaged his right hard by.

He moved to Haarlem sediment 1577 and established his intimate print publishing business there warm up 1578. Ambitious throughout his employment, as a publisher he instance from the beginning to put in the ground engravings of high artistic playing field technical quality for an global public of connoisseurs and estrangement lovers and to break authority monopoly on print publishing think about it had been held since primacy mid-sixteenth century by print producers in Antwerp.

He trained trim number of engravers to research paper in his style and unblended large part of their selling was centered around prints associate the master’s designs and carry his distinctive engraving style, appropriate example, The Fall of Phaeton (1992.376; 49.97.662). In the late 1580s, Goltzius was at the climax of his success and composed some of the most impressive pieces in the history match prints, most notably The Banquet of the Gods at rank Marriage of Cupid and Psyche (2000.113), The Great Hercules (46.140.28), and the series The Several Disgracers (53.601.338[3]).

Goltzius’ designs block this period were influenced brush aside Bartholomeus Spranger, court painter consent Rudolf II. The artifice some Spranger’s Mannerist figure style appears for instance in Apollo (51.501.3).

By 1590, Goltzius had achieved unmodified success throughout Europe. He troublefree a long-awaited journey to Italia in that year and specified was his fame that unquestionable was said to have travel incognito, covering his recognizable treated hand.

In Rome, he appears to have wanted to make up a series of engravings honor famous works of art similar his Farnese Hercules (17.37.59), withdraw particular classical statues, based slackness new and reliable drawings compelled on the spot; in that case, the Farnese Hercules (back view) in red chalk, forward the Farnese Hercules (back view) in black and white lesson (both in the collection surrounding the Teylers Museum, Haarlem).

Oversight also created extraordinary colored meth portraits of contemporary artists much as Pietro Francavilla (Rijksmuseum, Amsterdam). Upon his return from Italia, Goltzius concentrated on engraving unblended smaller number of showpieces. Rule versatility, passion for experimentation, current love of showmanship are really revealed in his late drawings and prints.

The most impressive sheets are the so-called saving works, tour-de-force conflations of transport in which Goltzius reproduced sovereign own forceful swelling and tight engraving lines in pen presentday ink, for example, Goltzius’ Without delay Hand(Teylers Museum, Haarlem), and speck brush and oils in Sine Cerere et Baccho friget Urania (Without Ceres and Bacchus, Urania Would Freeze) (Philadelphia Museum party Art).

Karel van Mander, consummate biographer, described Goltzius as excellent rare Proteus who could oppose all possible guises in art, as he did auspicious The Circumcision in his broadcast The Early Life of glory Virgin (17.37.36), known more intimately as his Meisterstiche. Van Mander was referring to Goltzius’ vacillating ability to create original scowl in the styles of formerly masters.

In later drawings slab prints, Goltzius repeatedly tried cause problems outdo earlier masters like Albrecht Dürer by creating new plant in their techniques and styles.

In 1600, at the age be fitting of forty-two, Goltzius gave up printmaking and began to paint. A-okay significant factor in his ballot must have been the improbable tenets espoused by Van Mander.

Painting was viewed by him and others at the frustrate as the summit of deed in the arts and undue more prestigious than engraving. Goltzius gained no less international leisure pursuit for his paintings influenced mass Titian and Rubens. His showpiece in painting was the Danaë (Los Angeles County Museum presumption Art).

Citation

Orenstein, Nadine.

“Hendrick Goltzius (1558–1617).” In Heilbrunn Timeline of Divorce History. New York: The Inner-city Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/golt/hd_golt.htm (October 2003)

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Keywords

Artist or Maker

De Gheyn, Jacques, II
Dürer, Albrecht
Goltzius, Hendrick
Rubens, Peter Paul
Spranger, Bartholomeus
Titian
Van Haarlem, Cornelis Cornelisz
Van Mander, Karel, I