Abraham Hendriksz van Beijeren or Abraham van Beyeren (c. 1620, The Hague – March 1690, Overschie ( Rotterdam )) was a Dutch Baroque painter of still lifes. Little recognized in his day and initially active as a marine painter, he is now considered one of the most important painters of still lifes , and still lifes of fish and so-called ' pronkstillevens ', i.e. sumptuous still lifes of luxurious objects.
22-421: Van Beijeren is a surname. Notable people with the surname include: Abraham van Beijeren ( c. 1620–1690), Dutch painter Geert van Beijeren (1933–2005), Dutch art dealer Leendert van Beijeren (1619–1649), Dutch painter [REDACTED] Surname list This page lists people with the surname Van Beijeren . If an internal link intending to refer to
44-611: A festoon or a nosegay . Often he would convey a moral or illustrate a motto: a snake lying coiled under grass; a skull on plants in bloom. Gold and silver cups or tankards are suggestive of the vanity of earthly possessions. Salvation is seen allegorically as a chalice amid blossoms, and death as a crucifix in a wreath. Sometimes de Heem painted, alone or with others, Madonnas or portraits in garlands of fruit or flowers. His signature varied: his initials (J. De Heem f.), or Johannes (IOANNES DE HEEM F.), or his father's name adjoined to his own (J. D. De Heem f.). Occasionally he provided
66-464: A brilliance and harmony of colour along with an accurate rendering of objects: flowers, in all their variety; European and tropical fruits; lobsters and oysters; butterflies and moths; stone and metal; snails and sea shells. His still lifes included fruit pieces, vanitas still lifes and flower pieces, but he is best known for his ornate or sumptuous still lifes, the so-called ' pronkstillevens '. Some of his works are displays of abundance; others, only
88-631: A brother, two sons, of whom Cornelis became particularly successful, and at least one grandson by each son. This family of painters started with the unknown father of David de Heem the Elder (1570–1631) and an unknown brother. This anonymous brother had a son, Jan or Johannes de Heem (c. 1603 - † probably after 1659), a painter of still lifes, flowers and fruits. David de Heem the Elder had two sons, also painters: Jan Davidsz. de Heem (1606- † before 26 April 1684) and David Davidsz. de Heem (1610 - † after 1669). Jan Davidsz. de Heem had three sons, all painters; from
110-582: A cartouche of flowers and fruit was sold for 2000 guilders, one of the highest prices ever paid for a painting during the Dutch Golden Age. His sons worked together with him in his workshop on the commissions for new paintings. He retouched their work and put his signature on the paintings. He remained in Antwerp until 1667, when he moved back to Utrecht, where records trace his presence from 1668 to 1671. He left Utrecht in 1671 when French troops were approaching
132-569: A date (such as A. i65i), especially with his best work. Of the one hundred or more of his pictures seen in European galleries, only 18 are dated. An early work shows a chased tankard with a bottle, a silver cup and a lemon on a marble table, dated 1640, in the Rijksmuseum in Amsterdam . A similar work of 1645, with the addition of fruit, flowers and a distant landscape, is at Longford Castle. A chalice in
154-466: A date. As a result, it has been difficult to compile a precise chronology of his works. While in the 1640s most of his paintings were seascapes, van Beijeren began to develop as a skilled still life painter of fish . In his early marine paintings he shows the influence of Jan van Goyen . In the 1650s and 1660s he started to focus on pronkstillevens , i.e. still lifes with fine silverware, Chinese porcelain, glass and selections of fruit. He also painted
176-431: A number of floral still life paintings, dead bird paintings and vanitas paintings. The move to painting pronkstillevens may have been motivated by economic necessity as they could be sold to a wealthier clientele. These still lifes are often quite elaborate displays and show the influence of Jan Davidsz. de Heem . He generally used a fairly broad technique and brown tonalities with some precision of detail. Van Beijeren
198-632: A specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Van_Beijeren&oldid=1022074843 " Category : Surnames Hidden categories: Articles with short description Short description is different from Wikidata All set index articles Abraham van Beijeren Abraham van Beijeren trained with Tyman Arentsz. Cracht in 1636. He lived in Leiden in 1638-1639 where in 1639 he married Emmerentia Stercke. He
220-550: A wreath, with a radiant bouquet among wheat sheaves, grapes and flowers, is a masterpiece of 1648 in the Belvedere of Vienna . A wreath around a life-sized Madonna, dated 1650, in the museum of Berlin , shows that de Heem could paint brightly and harmoniously on a large scale. The Prado Museum owns a Table dated around 1651 and the Thyssen-Bornemisza Museum houses Flowers in a glass Vase with Fruit circa 1665. In
242-620: The Alte Pinakothek in Munich is a celebrated work of 1653 in which creepers mingle beautifully with gourds, blackberries, orange, myrtle and peach, and further enlivened with butterflies, moths and beetles. A landscape with a blooming rose tree, a jug of strawberries, a selection of fruit, and a marble bust of Pan , dated 1655, is in the Hermitage in St Petersburg . Some of his works are kept at
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#1733084766055264-988: The Iris & B. Gerald Cantor Center for Visual Arts (Stanford University, California), the Cleveland Museum of Art , the Dallas Museum of Art , the Detroit Institute of Arts , Museum de Fundatie , the Honolulu Museum of Art , the Los Angeles County Museum of Art , the Louvre , the Metropolitan Museum of Art , the Minneapolis Institute of Arts , the National Maritime Museum (Greenwich, UK),
286-766: The Royal Museums of Fine Arts of Belgium in Brussels . A 1645 still life of a feast of fruit and lobster is in the gallery at the Allen Memorial Art Museum in Oberlin, Ohio . A simple still life of pewter goblets can be seen in the Barber Institute in Birmingham UK. A number of de Heems, of whom Jan Davidsz. was the most distinguished, painted works in similar styles, that are often hard to distinguish. These include
308-554: The Southern Netherlands and joined the Guild of Saint Luke of Antwerp in 1635 or 1636 and became a burgher of that city in 1637. However he was often absent, as attested by the duties he had to pay for this. His remarkable talent gained him a considerable reputation. He could hardly satisfy the demand. De Heem was considered one of the greatest painters of his time. He was well paid and a portrait of Prince William III surrounded by
330-1198: The York Art Gallery , York , UK; the Philadelphia Museum of Art , the Rijksmuseum Amsterdam , the Royal Museums of Fine Arts of Belgium , the Rhode Island School of Design Museum , the Royal Castle in Warsaw and the Seattle Art Museum are some of the public collections that hold paintings by Abraham van Beyeren. In private collections: Ger Eenens Collection the Netherlands. Jan Davidsz. de Heem Jan Davidsz. de Heem or in-full Jan Davidszoon de Heem , also called Johannes de Heem or Johannes van Antwerpen or Jan Davidsz de Hem (c. 17 April 1606 in Utrecht – before 26 April 1684 in Antwerp ),
352-404: The city. It is not known when he finally returned to Antwerp, but his death there is recorded in the guild books. Van Heem married twice, first with Alette van Weede with whom he had three surviving children on her death in 1643, one of which, Cornelis , would become a still life painter. He married a second time in 1644 with Anna Catherina Ruckers with whom he had six more children, one of whom
374-614: The genre of fish still lifes as well as his tutor in this genre. Van Beijeren's initial works were marine and fish still life paintings. These were not very well paid at the time and the relative poverty of van Beijeren may explain his frequent moves from one place to another. He resided in Delft from 1657 where he joined the local Guild of Saint Luke. In 1663 he returned to The Hague where he remained until 1669 when he moved to Amsterdam . Further moves followed: to Alkmaar in 1669, then Gouda in 1675 and finally Overschie (Rotterdam) in 1677. This
396-402: Was Jan who would also become a still life painter. Apart from his two sons, he had several apprentices: Michiel Verstylen , Alexander Coosemans , Thomas de Klerck , Lenaert Rougghe , Theodor Aenvanck , Andries Benedetti , Elias van den Broeck , Jacob Marrel , Hendrik Schoock and Abraham Mignon . De Heem was one of the greatest painters of still lifes in the Netherlands, combining
418-498: Was a still life painter who was active in Utrecht and Antwerp. He is a major representative of that genre in both Dutch and Flemish Baroque painting . De Heem was born in Utrecht as Johannes van Antwerpen . He studied first under his father David de Heem the Elder (1570–1631), then under Balthasar van der Ast . He lived in Leiden from about 1625 to 1629, where he studied in 1629 under David Bailly (1584- c. 1657). He moved to
440-499: Was back in The Hague in 1640 where he became a master of the local Guild of Saint Luke . After the death of his first wife he was left to raise three daughters. He married with Anna van den Queborn in 1647. His second wife was a painter and daughter of the painter Crispijn van den Queborn . Anna's aunt was married to Pieter de Putter , a painter of fish still lifes. De Putter may have been the source of van Beijeren's initial interest in
462-487: Was his last home. The artist may have been doing better financially in his later years as he was able to buy a house in Overschie for 1,000 guilders of which 600 was covered by a mortgage. His wife was reported as being sick in bed in 1679 when she made her will. The date of her death is unknown. Van Beijeren died in Overschie in 1690. Van Beijeren signed his canvases with the monogram AVB and invariably failed to include
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#1733084766055484-521: Was likely familiar with the other Dutch painters of pronkstillevens such as Pieter Claesz and Willem Claeszoon Heda who were specialists in monochrome banquet still lives. He often worked on a larger scale than his Dutch contemporaries with his tall canvasses reaching a height of one meter. The Scottish National Gallery , the Academy of Fine Arts Vienna , the Ashmolean Museum (University of Oxford),
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