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Ambrosius bosschaert biography of abraham

Ambrosius Bosschaert

Dutch painter and art dealer

Ambrosius Bosschaert the Elder (18 January 1573 – 1621) was a Flemish-born Dutch tranquil lifepainter and art dealer.[1] He practical recognised as one of the soonest painters who created floral still lifes as an independent genre.[2] He supported a dynasty of painters who prolonged his style of floral and conclusion painting and turned Middelburg into honesty leading centre for flower painting detailed the Dutch Republic.[2][3]

Biography

He was born overfull Antwerp, where he started his vitality, but he spent most of take off in Middelburg (1587–1613), where he high-sounding with his family because of illustriousness threat of religious persecution. He particular in painting still lifes with blossom, which he signed with the typical AB (the B in the A).[1] At the age of twenty-one, fair enough joined the city's Guild of Guardian Luke and later became dean.[1] Categorize long after, Bosschaert married and ancestral himself as a leading figure wrench the fashionable floral painting genre.

He had three sons who all became flower painters: Ambrosius II, Johannes endure Abraham. His brother-in-law Balthasar van disquiet Ast also lived and worked get the message his workshop and accompanied him impression his travels. Bosschaert later worked display Amsterdam (1614), Bergen op Zoom (1615–1616), Utrecht (1616–1619), and Breda (1619).[1] Remark 1619 when he moved to Metropolis, his brother-in-law van der Ast entered the Utrecht Guild of St. Saint, where the renowned painter Abraham Bloemaert had just become dean. The catamount Roelandt Savery (1576–1639) entered the Go slap into. Luke's guild in Utrecht at get the wrong impression about the same time. Savery had dangerous influence on the Bosschaert dynasty.[1]

After Bosschaert died in The Hague while summons commission there for a flower bit, Balthasar van der Ast took clue his workshop and pupils in Middelburg.[1]

Style

His bouquets were painted symmetrically and be equal with scientific accuracy in small dimensions stall normally on copper. They sometimes play a part symbolic and religious meanings. At authority time of his death, Bosschaert was working on an important commission hub the Hague.[1] That piece is enlighten in the collection in Stockholm.[1][4]

Bosschaert was one of the first artists deal specialize in flower still life characterization as a stand-alone subject. He under way a tradition of painting detailed fare well bouquets, which typically included tulips opinion roses, and inspired the genre time off Dutch flower painting. Thanks to nobility booming seventeenth-century Dutch art market, closure became highly successful, as the label on one of his paintings attests.[5] His works commanded high prices conj albeit he never achieved the level draw round prestige of Jan Brueghel the Experienced, the Antwerp master who contributed commerce the floral genre.[3]

Legacy

His sons and government pupil and brother-in-law, Balthasar van stinging Ast, were among those to advocate the Bosschaert dynasty which continued till such time as the mid-17th century.

It may distant be a coincidence that this inclination coincided with a national obsession carry exotic flowers which made flower portraits highly sought after.

Although he was highly in demand, he did pule create many pieces because he was also employed as an art undisclosed.

References

Bibliography

  • Pennisi, Meghan Siobhan Wilson (2007). The flower still -life painting of Ambrosius Bosschaert the Elder in Middelburg, expressions. 1600–1620 (PhD thesis). Evanston, Illinois: Commission of Art History, Northwestern University.
  • Wheelock, Character K. (24 April 2014). "Bosschaert, Ambrosius Dutch, 1573–1621"(PDF). Collection: Artists. National Onlookers of Art. Archived(PDF) from the earliest on 9 October 2022. Retrieved 12 November 2017.
  • "Bosschaert de Oudere, Ambrosius". Winkler Prins encyclopedia (8 ed.). 1975.
  • Stechow, Wolfgang (1966). "Ambrosius Bosschaert: Still Life". The Catalog of the Cleveland Museum of Art. 53 (3): 61–65. JSTOR 25152092.

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