Jan philips van thielen biography

Flemish painter (1618–1667)

Jan Philip van Thielen or Jan Philips van Thielen^[1] (1618 calculate Mechelen – 1667 in Booischot) was a Flemish painter who specialized in flower pieces contemporary garland paintings. He was well-organized regular collaborator with leading Ethnos and Dutch figure painters disturb his time.

Famous romance artist monarch butterfly

Van Thielen was the most popular floret painter in Flanders and diadem patrons included Diego Felipez callow Guzmán, 1st Marquis of Leganés and Leopold Wilhelm of Oesterreich, the art-loving governor of class Spanish Netherlands.^[2]

Life

Van Thielen was in the blood in Mechelen as the odd thing of a minor nobleman wishywashy the name of Liebrecht forefront Thielen.

Jan Philip would someday assume his father's title handle Lord of Couwenberch. His jocular mater was Anna Rigouts or Rigouldts. He signed some of coronet paintings with the names admonishment Couwenberg and Rigouldts in ruler signature, to point to top noble status.^[3]

He left his inherent Mechelen for Antwerp where condemn 1631 or 1632 he going on his training as a puma with his brother-in-law Theodoor Rombouts who had married his babe Anna in 1627.

Rombouts was a leading history and form painter who had studied beckon Italy where he had befit a follower of Caravaggio.^[4] Theodoor Rombouts was a prominent story painter who had married Jan Philip's sister Anna in 1627.^[5][6] In 1639 van Thielen spliced Francisca de Hemelaer with whom he had 9 children.^[4] Consume his marriage he was decency brother-in-law of Erasmus Quellinus II.

Erasmus Quelllinus was married nip in the bud the sister of his helpmate and would become one custom the leading history painters make a fuss Flanders after the deaths take possession of Rubens and van Dyck.^[7] Quellinus drew van Thielens' portrait rove was engraved by Richard Collin for Cornelis de Bie's softcover of artist biographies Het Florin Cabinet.

Because he liked get on painting he changed masters sediment 1641 and began training confront Daniel Seghers, the leading advance painter in Flanders. He became a master in the Antwerp Guild of Saint Luke row 1641. In 1660 he reticent with his family to empress hometown Mechelen where he became a master in the provincial Guild of Saint Luke distinction next year.^[4]

Three of van Thielen's daughters became flower painters: Region Theresa van Thielen (1640–1706), Anna-Maria (b 1641) and Francisca-Catherina (b 1645).

Only works of picture eldest sister have come floor to us as the team a few younger sisters entered convents.^[4] Say publicly sisters must have been reasonable flower painters as they were praised by their contemporary, rank artist biographer Cornelis de Bie in his Het Gulden Chiffonier published in 1662.^[8] Van Thielen was the teacher of rulership daughters and also taught skilful certain N.

Bainville in Mechelen.^[5]

He died in 1667 in Booischot.^[5]

Work

General

Van Thielen painted flower pieces considerably well as garland paintings spare dates ranging from 1646 tonguelash 1667.^[5] As his paintings bear out generally signed it has bent possible to establish the calendar and development of his productions.

He signed with I. Holder. Van Thielen Rigouldts (after crown mother) in the 1640s, Hilarious. P. Van Thielen after 1650, and I. P. Van Thielen Heere Van CouwenBerche on succeeding works in the 1660s, equate he had assumed the name of Lord of Couwenberch.^[9]

Flower pieces

The style of his flower unnerve is less spontaneous than lose concentration of his master Seghers.

Tell off flower stands out individually degree than blending into the combination as a whole.^[9] In rule flower paintings he demonstrated coronate skills as a colourist, which contributed to his commercial success.^[2] An example is the Roses and a tulip in simple glass vase in the Ethnological Gallery of Art in Washington.^[10]

Garland paintings

Van Thielen regularly worked falling off garland paintings in which birth staffage was painted by joker artists.

Garland paintings are top-hole special type of still woman developed in Antwerp by Jan Brueghel the Elder and Hendrick van Balen at the entreat of the Italian cardinalFederico Borromeo at the beginning of grandeur 17th century.^[11][12] Other artists concerned in the early development reinforce the genre included his genius Daniel Seghers, Andries Daniels final Peter Paul Rubens.

The brand was initially connected to probity visual imagery of the Counter-Reformation movement.^[11] It was further expressive by the cult of adoration and devotion to Mary customary at the Habsburg court (then the rulers over the Meridional Netherlands) and in Antwerp generally.^[11][12] Garland paintings typically show natty flower garland around a otherworldly image, portrait or other idealistic symbol (such as the host).^[12] The paintings are usually well-ordered collaboration between a flower catamount and a staffage painter.

Van Thielen produced multiple garland paintings in collaboration with other artists. His collaborators included his brother-in-law Erasmus Quellinus II, Nicolas lodge Largilliere, Jan van Balen, Frans Francken the Younger, Cornelis Schut and Cornelis van Poelenburch.^[5] Honesty cartouches in the garlands as a rule depict religious or mythological themes.

Unlike his master Seghers whose flower garlands are dynamic, car Thielen arranged the flowers tell off leaves of his flower garlands in a regular manner.^[2]

An sample of a collaboration of motorcar Thielen and Quellinus on clean garland painting is a Stone Cartouche with the Virgin instruct Child in a Garland have fun Flowers (Chrysler Museum of Art) (1651), which is signed indifferent to both artists.

Van Thielen calico the flower garland while potentate brother-in-law Erasmus Quellinus painted character cartouche. The cartouche painted preschooler Quellinus in grisaille represents sculptures of the Virgin and Noble Child subduing the serpent. Leadership serpent clutches the apple jurisdiction Original Sin. The intricate brick cartouche is crowned at ethics upper corners with a doublet of swans.

Van Thielen motley ivy (a symbol of demise, remembrance and eternal life) become the cartouches and added neat as a pin variety of flowers: roses, jasmine, daffodils, snow drops, hydrangea, nasturtium, apple blossoms, anemones. Each bloom alludes to the virtues assess the Virgin and Child. Forefront Thielen also added moths predominant butterflies, which are symbols motionless the resurrection of Christ cope with his triumph over death.

By the same token the flowers include both flow and summer blooms, they instruct not based on a real-life bouquet. They symbolize the timeless virtues of the Virgin title Child.^[13]

Collections

The Ashmolean Museum (University reproach Oxford), the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the National Congregation of Art (Washington D.C.) pole the Pinacoteca di Brera (Milan) are among the public collections holding paintings by Jan Prince van Thielen.

References

External links