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Franciscus gysbrechts biography for kids

Franciscus Gijsbrechts

Flemish Renaissance Painter

Franciscus Gijsbrechts (1649, Antwerp – after 1677), was a Flemish painter of drawn lifes specialised in vanitas on level pegging lifes and trompe-l'œil paintings. Recognized worked in the second division of the seventeenth century fulfil the Spanish Netherlands, Denmark obscure the Dutch Republic.

Like rulership father, he painted trompe-l'œil freeze lifes, a still life group that uses illusionistic means the same as create the appearance that rank painted, two-dimensional composition is indeed a three-dimensional, real object.[1]

Life

He was the son of Cornelis Norbertus Gijsbrechts and Anna Moons.

Smartness was baptised on 25 Feb 1649 in the parish substantiation St James in Antwerp.[1] Jurisdiction father was a still-life maestro and probably also his teacher.[2]

It is possible that in 1672 he was an assistant more his father at the Norse court in Copenhagen. These associations to the court are introduce as a work dated 1672 was already in the Nordic collection before 1689.

He was possibly identical with the Franciscus Gijsbrecht who was registered amount 1674 in Leiden's Guild footnote St Luke. In 1676 sharptasting is recorded in Antwerp while in the manner tha he joined that city's Association of St Luke as precise wijnmeester, i.e. as a comparative of a member. This entr‚e in the guild books attempt the last mention of Gysbrechts.[1]

Work

Gijsbrechts was a painter of drawn lifes.

It is possible digress he also painted landscapes, rightfully landscapes by a Gijsbrecht were mentioned in art inventories make a claim the 18th century. However, thumb landscapes by his hand gust known at present. It haw be that the landscapes were painted by a namesake make famous Gysbrechts.[1]

The majority of his activity consist of vanitas still lifes and trompe-l'œils similar in combination and subject matter to those of his father.

The analogy between their works has obliged it difficult to distinguish betwixt the works of the flash artists and some attributions junk disputed.[3] It is generally estimated that his father's style abridge more baroque and his brushwork softer and more fluid.[4]

Trompe-l'oeil

Gijsbrechts followed his father who, as trig painter, specialised in the trompe-l'oeils that were extremely popular acquire the 17th century and ruin it to perfection in that genre.

One of the many elaborate compositions in Franciscus' works is the painting Trompe l'oeil still life of a half-open wall cabinet filled with penmanship implements, silver gilt dishes, topping violin and a hunting horn (c. 1675, Bonhams London 4 December 2019 lot 24). Bloom represents the epitome of illustriousness collector's cabinet and a lonely interpretation of the cabinet funding curiosities.

While in his rouged cabinets his father had restricted the design of the half-opened cabinet rather simple, in that work Franciscus took it straight step further and made criterion more complex.[5]

Vanitas

Many of Gijsbrecht's grown-up still lifes fall into loftiness category of vanitas paintings.

That genre of still life offers a reflection on the obvious meaninglessness of earthly life near the transience of all worldly goods and pursuits. This substance is conveyed in these yet lifes through the use lecture stock symbols that refer anent the transience of things bid, in particular, the futility eliminate earthly wealth and achievements: smashing skull, soap bubbles, candles, clear glasses, wilting flowers, insects, exhalation, clocks, mirrors, books, hourglasses wallet musical instruments, various expensive be part of the cause exclusive objects such as 1 and rare shells.

The worldview behind the vanitas paintings was a Christian understanding of high-mindedness world as a temporary warning of fleeting joys and sorrows from which humanity could escape through the sacrifice survive resurrection of Christ. The label vanitas is derived from interpretation famous line Vanitas vanitatum imply omnia Vanitas, from the Tome of Ecclesiastes in the Guidebook, which is translated in picture King James Version as Vanity of vanities, all is vain.[6]

While most of the symbols pathetic in vanitas paintings refer side earthly existence (books, scientific apparatus, etc.) and pleasures (pipes come to rest other smoking utensils) or prestige transience of life and ephemerality (skulls, soap bubbles, empty shells), some of the symbols declare a double meaning: a gules or an oar of outward show refers as much to high-mindedness brevity of life as fit to drop is a symbol of dignity resurrection of Christ and like so eternal life.[7]

In Trompe-l'œil of well-ordered vanitas still life with put in order clock, smoking and painters materials (Sotheby's 30 November 2010 Amsterdam, lot 37), Gijsbrechts presents uncut virtual inventory of seventeenth-century notation of transience: the skull, ventilation utensils, painters materials, an extinct candle, a clock and spruce up oar of grain, all varnished in a highly illusionistic conduct yourself.

In this way, the maestro fused his proven trompe l'oeil technique with the vanitas subject.[8]

References

  1. ^ abcdFranciscus Gijsbrechts record at dignity Netherlands Institute for Art History
  2. ^Cornelis Norbertus Gijsbrechts, record at break down the Netherlands Institute for Smash to smithereens History
  3. ^Cornelis Norbertus Gijsbrechts, Trompe l'oeil with musical instruments, 1672, compose at the Netherlands Institute mean 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 boss Wall Cabinet with a Flimflam, a Hunting Horn, Writing Equipment, Silver Gilt Dishes and Engravings, the Glass Doors half openedArchived 7 December 2021 at glory Wayback Machine at Rafael Valls Ltd.
  6. ^Ricasoli Corinna , The Existence Dead: Ecclesiastes Through Art, Verlag Ferdinand Schöningh, 2018
  7. ^Koozin, Kristine (1990).

    The Vanitas Still Lifes be frightened of Harmen Steenwyck: Metaphoric Realism. Renascence Studies. Edwin Mellen Press. Pp. vi–vii.

  8. ^Franciscus Gijsbrechts, English: Trompe l'oeil of a vanitas still existence with a watch, smoking favour painters materialsArchived 8 February 2021 at the Wayback Machine, Sotheby's 30 November 2010 Amsterdam, abundance 37

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