Pieter Aertsen Biography | Oil Painting Reproductions
1-16-1508 Amsterdam, NED - 6-3-1575 Amsterdam, NEDBack to Artist IndexView Artists Paintings
Pieter Aertsen was apprenticed with Allaert Claesz. In the wake of starting by painting religious works, in the 1550s he developed the painting of domestic scenes in which he recreated articles of furniture, cooking utensils and food with incredible energy and authenticity. His Butcher's Shop "has been called the earliest example of Mannerist inversion of still life in Northern painting". A comparative inversion in landscape painting had been produced by Joachim Patinir in Antwerp quite a few years prior when he created the word landscape. Dissimilar to these, in Aertsen's works the material rules the front of the picture, with the history scene, usually religious, not entirely obvious in the background.
Further down the road, Pieter Aertsen additionally painted more traditional religious subjects, now, for the most part, lost amid the iconoclasm of the beeldenstorm a few works of art that had been appointed for Catholic churches of worship were annihilated. A few of his best works, incorporating altarpieces in different houses of worship in Amsterdam, were additionally decimated amid the days encompassing the event known as the Alteratie, or "Changeover", when Amsterdam formally changed to Protestantism from Catholicism on 26 May 1578 toward the begin of the Eighty Years' War.
Pieter Aertsen was a member of Antwerp's equivalent of the Accademia di San Luca. In the official books of the Academy, he is known as "Langhe Peter, schilder" (Tall Peter, painter). His children Pieter, Aert, and Dirk became acclaimed painters themselves, and other remarkable understudies in his workshop included Stradanus and Aertsen's nephew, Joachim Beuckelaer, who kept on developing Aertsen's style.
Pieter Aertsen's exact formula of still life and genre figures in the foreground, with little scenes from history painting in the background, continued for only a generation, however history paintings with extremely unmistakable bountiful still life components in the frontal area were done by Rubens and his generation, and in the seventeenth century both Flemish Baroque painting and Dutch Golden Age painting created vital classifications of still life subjects, which were every so often done in Aertsen's day.
Not at all like Pieter Bruegel the Elder, Aertsen's figures were generally portrayed (particularly the ladies) glorified with impressive poise and no exertion at satire, using poses that ultimately derived from classical art, and at times seem to have been obtained from the contemporary court portraiture of artists, for example, Anthonis Mor.
Art Movement History: Northern Renaissance
Artists Influencing Pieter Aertsen: Allaert Claesz, Jan Sanders van Hemessen, Peiraikos, Anthonis Mor
Painters Pieter Aertsen Influenced: Joachim Beuckelaer, Stradanus, Pieter, Aert and Dirk Aertsen, Joachim Wtewael