Difference between revisions of "Kornelius Poelemberg"
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Kornelius Poelemberg <ref name="term_56289" /> | |||
<p> a Dutch painter, was born at [[Utrecht]] in 1586. His master was [[Abraham]] Bloemaert. He then went to Rome, where he enjoyed the lessons of Adam Elzheimer (1600). A member of the academic rank, he was there called II Brusco and Il Satiro. He Italianized his manner. His paintings were esteemed, and brought a good price even in Italy. Pope Paul V and the grand duke of Tuscany, | Kornelius Poelemberg <ref name="term_56289" /> | ||
==References == | <p> a Dutch painter, was born at [[Utrecht]] in 1586. His master was [[Abraham]] Bloemaert. He then went to Rome, where he enjoyed the lessons of Adam Elzheimer (1600). A member of the academic rank, he was there called II Brusco and Il Satiro. He Italianized his manner. His paintings were esteemed, and brought a good price even in Italy. [[Pope]] Paul V and the grand duke of Tuscany, Ferdinand II, endeavored in vain to keep him. After a few months spent in [[Florence]] (1621), he went back to Holland, where his fame had preceded him. He was received with great honors; Rubens became his friend. [[Charles]] I called him to London, where Poelemberg painted a great deal; but lie finally abandoned the service of the English monarch and returned to Utrecht, where he died, in 1660. His chief sacred works are: The Birth of Jesus, at Dusseldorf; [[Lot]] and his Daughters; the [[Martyrdom]] of St. Stephen; a [[Flight]] to Egypt; a [[Holy]] Family; an Angel announcing to the [[Shepherds]] the Birth of the Savior, in the Louvre, and one of his best; etc. At the great exhibition at [[Manchester]] (1851) the portrait of Poelemberg and his wife, painted by himself, and several landscapes, were greatly admired. He left also some good eau- fortes, but his engravings are rare and out of the market. Poelemberg's manner is remarkable for suavity and lightness; it betokens great facility and an uncommon science of the chiaro-oscuro; his masses are large, his backgrounds and first plans full of harmony; the details, especially those related to architecture, are carefully worked out; his figures (generally naked females) are swell grouped, but the drawing is seldom correct. See Descamps, Vie des Peintres. 1, 214 sq.; Blanc, La Vie des Peintres (Ecole Hollandaise), liv. 94; Spooner, Biog. Hist. of the [[Fine]] Arts, s.v.; Mrs. Clement, Handbook of Painters, etc. p. 461. </p> | ||
== References == | |||
<references> | <references> | ||
<ref name="term_56289"> [https://bibleportal.com/encyclopedia/cyclopedia-of-biblical-theological-and-ecclesiastical-literature/poelemberg,+kornelius Kornelius Poelemberg from Cyclopedia of Biblical, Theological and Ecclesiastical Literature]</ref> | <ref name="term_56289"> [https://bibleportal.com/encyclopedia/cyclopedia-of-biblical-theological-and-ecclesiastical-literature/poelemberg,+kornelius Kornelius Poelemberg from Cyclopedia of Biblical, Theological and Ecclesiastical Literature]</ref> | ||
</references> | </references> | ||
Latest revision as of 16:41, 15 October 2021
Kornelius Poelemberg [1]
a Dutch painter, was born at Utrecht in 1586. His master was Abraham Bloemaert. He then went to Rome, where he enjoyed the lessons of Adam Elzheimer (1600). A member of the academic rank, he was there called II Brusco and Il Satiro. He Italianized his manner. His paintings were esteemed, and brought a good price even in Italy. Pope Paul V and the grand duke of Tuscany, Ferdinand II, endeavored in vain to keep him. After a few months spent in Florence (1621), he went back to Holland, where his fame had preceded him. He was received with great honors; Rubens became his friend. Charles I called him to London, where Poelemberg painted a great deal; but lie finally abandoned the service of the English monarch and returned to Utrecht, where he died, in 1660. His chief sacred works are: The Birth of Jesus, at Dusseldorf; Lot and his Daughters; the Martyrdom of St. Stephen; a Flight to Egypt; a Holy Family; an Angel announcing to the Shepherds the Birth of the Savior, in the Louvre, and one of his best; etc. At the great exhibition at Manchester (1851) the portrait of Poelemberg and his wife, painted by himself, and several landscapes, were greatly admired. He left also some good eau- fortes, but his engravings are rare and out of the market. Poelemberg's manner is remarkable for suavity and lightness; it betokens great facility and an uncommon science of the chiaro-oscuro; his masses are large, his backgrounds and first plans full of harmony; the details, especially those related to architecture, are carefully worked out; his figures (generally naked females) are swell grouped, but the drawing is seldom correct. See Descamps, Vie des Peintres. 1, 214 sq.; Blanc, La Vie des Peintres (Ecole Hollandaise), liv. 94; Spooner, Biog. Hist. of the Fine Arts, s.v.; Mrs. Clement, Handbook of Painters, etc. p. 461.
