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Janssens Abraham

( Artist)

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Biography Janssens Abraham
Abraham Janssens (1576-1632). At the beginning of XVII century painting in Flanders experiencing a period of effervescence. An increasing number of artists and workshops, as well as expanding circle of customers. Chief among them was the church, need large altarpiece, capable not only of interest to the viewer his story, but to capture his emotional. However, the paintings were supposed to conform to the splendor of the baroque style prevailed in Europe at that time. Another customer was the nobility, who preferred to decorate their castles and palaces of a huge picture-panels. They depicted scenes of hunting, forest landscapes, religious, allegorical and mythological subjects. Few of the artists, in addition to Rubens and Jordaens, could work in several areas of painting. Therefore, among the painters place specialization, is not as narrow as in Holland, but the appropriate division of painting genres. Not least among these artists took Abraham Janssens, a master of figural compositions. Janssens was odn.oy of the most interesting figures in the circle of Antwerp artists of the first third of the XVII century. Unlike the majority of which were under tremendous influence of Rubens, Janssens had in painting his own face.

One time he even was the only rival of the great painter. This Janssens himself was not free from the charm of Rubens. But he skillfully combined this with the traditions of the old romanizma Netherlands and karavadzhizma. Janssens was born, lived and died in Antwerp. The city is already in the XV century, was considered one of the main centers of Flemish art. It was founded and flourished the famous guild (a kind of union painters) St. Luke. I must say that from all kinds of art is revered painting in Antwerp, and the whole of Flanders, the most. Therefore, all the masters sought in this city, which lived in peace the most different, sometimes completely opposite directions painting. Before beginning artists opened an unlimited choice of fashion and style. Janssens did I learn to. Snellinku, loyal follower of Martin de Vos, and, therefore, representative of late Mannerism. In 1598 Janssens goes to Rome. Rome at that time played in Europe the same role as that of Antwerp in Flanders. Attracts the best forces of European art, is formed by the new directions. One of them, which later became known as karavadzhizm (named after its founder, Caravaggio), included a fashion. A few years karavadzhizm spread throughout Europe. Few can be called artists, in one way or another do not fall under his influence. Janssens, an artist seeking a young, took a lively artistic basis karavadzhizma. They mainly consisted in the care of the fine principles of academic art, with its abstraction from life and a tendency to dogmatism. Caravaggio openly appealed to the reality in all its, at times even crude, manifestations. He also completely revised the rules of composition, lighting and images of the body in motion. All these new ideas Janssens brought back to their homeland.

Upon his return to Antwerp Janssens becomes a master in 1601, meaning that it is right to have a scenic shop. In 160.6 he was elected dean of the Guild of St.. Luke. He became one of the first artists in Antwerp, though not for long, because in 1608 he came back from Italy who has lived there for several years, Ruben - truly the first Flemish painter. Nevertheless, Janssens continued to maintain an active creative activity. From his studio in the 10 th-20-ies came a lot of paintings. His tough, sometimes becoming a cold-painting style, largely in opposition to Rubens' sensuality certainly should have had fans. In the pictures this time (for example, "The Raising of Lazarus", the church Sei-Pierre in Douai) master ably identifies what is given to him with the greatest success - the image of plastic authenticity of the human body. Movement in a difficult angle, a variety of gestures, the relationship of shapes and spatial change of plans - that is the strength of works Janssens. In another of his film "Scheldt and Antwerp (1610, Antwerp, Royal Museum of Fine Arts) - an allegory of the capital of Flanders and the river on which it stands - the ability to track classically clear reaches its climax. However, more typical of the last thirty years, the artist's life are his religious works written in the traditional genre of the Netherlands altarpiece. For example, later, "Crucifixion" * from the museum in Valensenne written in compliance with all rules and canons. In the center - a cross with the crucified Christ, on the sides of which two crucified thieves. At the foot of the Cross - The Virgin and the beloved disciple John, kneeling Mary Magdalene and Mary the wife of Cleophas. All pieces are written with an almost sculptural tangibility, volume. Their clothes are flying lush baroque folds, especially the red cloak Mary Cleopas. Poses crucified robbers also transferred with great skill. Nevertheless, in the film some sense prevails theatricality, artifice. It's like a tribute to the genius of Rubens, but devoid of its enormous vitality.


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