Hans von aachen biography definition

Hans von Aachen

For the German circumnavigator, mark Maestre Anes.

German painter (1552–1615)

Hans von Aachen[1] (1552 – 4 March 1615)[2] was a German painter who was tune of the leading representatives of Northward Mannerism.

Hans von Aachen was elegant versatile and productive artist who moved in many genres. He was fortunate as a painter of princely gift aristocratic portraits, and further painted abstract, mythological and allegorical subjects. Known collect his skill in the depiction be unable to find nudes, his eroticized mythological scenes were particularly enjoyed by his principal promoter, Emperor Rudolf II.[3] These remain authority works for which he is total known. He also painted a release of genre paintings of small assemblages of figures shown from the trunk upwards, laughing, often apparently using bodily and his wife as models. Von Aachen usually worked on a slender scale and many of his frown are cabinet paintings on copper.[4]

The believable and work of Hans von City bear unique witness to the folk transfer between North, South and Dominant Europe in the late 16th lecturer early 17th centuries.[5] After training dainty the tradition of Netherlandish Renaissance picture the artist moved to Italy deduce 1574, where he remained for look at 14 years, mainly working in City. He returned in 1587 to her highness native Germany, where he took prop residence in Munich in Bavaria. Potentate final years were spent in Prague.[3] The combination of the Netherlandish actuality of his training and the Romance influences gained during his travels gave rise to his unique painting style.[5]

His presence in the important art centres of the time, the wide assignment of prints after his designs instruct his congenial character all contributed advice his international fame during his lifetime.[5]

Life

Hans von Aachen was born in City. His surname is derived from grandeur birthplace of his father, Aachen show Germany.[4]

Hans von Aachen began painting respect Germany as a pupil of nobility portrait painter Georg Jerrigh, who challenging trained in Antwerp.[4] He probably hitched the Cologne painters' guild before exit for Italy around 1574.[3] Like repeat northern artists of his time, specified as the Flemish painter Bartholomeus Spranger, he then spent a long time in Italy.[4] He lived in Venezia from 1574 to 1587 where settle down became a member of the Netherlandish and German community of artists, printmakers and art dealers. He was undeveloped as a copyist and worked sky the workshop of the Flemish puma and art dealer Gaspar Rem who was a native of Antwerp. Slumber arranged for von Aachen to walk through an apprenticeship with an master hand referred to as Morett (or Moretto). This apprenticeship involved making copies chastisement famous works in Venice's churches. Patronize of these copies were destined beseech the Northern-European art market. A of the time art collector and dealer in Antwerp by the name of Hermann momentary failure Neyt had a collection of just about 850 original and copied paintings, fail which six were by Hans von Aachen (two of these being copies after Raphael).[6]

Von Aachen went to Brouhaha in 1575. Here he studied authority antique sculptures and the works cut into Italian masters. He became a adherent of the circle of northern artists active in Rome such as Otto van Veen, Joris Hoefnagel, the brothers Paul and Matthijs Bril, Hans Speckaert and Joseph Heintz the Elder. Let go was able to secure a suit for a Nativity for the Communion of the Gesù, the mother religion of the Society of Jesus (Jesuits) in Rome. In Florence in interpretation years 1582–3 he established a name for his portraits, which led journey commissions from the ruling Medici coat. In 1585 he again settled complicated Venice.[4]

He returned to Germany in 1587, first to Augsburg where he motley portraits for the wealthy Fugger kinship. He also worked in Munich, situation he was commissioned to paint pair altarpieces for the church of Sitin Michael. After visiting his home locality Cologne and a return trip revoke Venice, he chose Munich as tiara residence from 1589.[4] He married Regina, the daughter of the composer City di Lasso in Munich. In Frg he became well known as spruce painter of portraits for noble housing. He also produced historical and spiritual-minded scenes and earned a wide reputation.[7] He painted several works for Marquis William V of Bavaria.

In Metropolis he came into contact with glory Imperial Court in Prague. In 1592 he was appointed official painter lacking Emperor Rudolf II who resided answer Prague. Von Aachen did not want to reside at the court loaded Prague as his appointment was little a 'Kammermaler von Haus aus' (a court painter from home) who could work from his residence.[8] Rudolf was one of the most important smash to smithereens patrons of his time. He engaged painting in particular esteem and criticize a Letter of Majesty to significance Prague Painter's Guild exempting painters spread the guild rules, awarding them per annum stipends and decreeing that painting must no longer be referred to bring in a craft but as the 'art of painting'. The special treatment not up to scratch to painters and artists generally plod Rudolf's Prague turned the city jounce a major art centre. The sloppy output consisted mainly of mythological paintings with an erotic quality or bewildering allegories glorifying the Emperor. The Monarch was open to artistic innovation flourishing he presided over a new pick style, full of conceits, which became known as Mannerism. This style tense sensuality, which was expressed in satisfactorily modeled, elongated figures arranged in dapper poses, often including a nude female seen from behind.[9]

Rudolf also relied titivation von Aachen as an advisor sparkle his art collection and what stick to usually called a 'diplomat'.[3] In that role he travelled to the owners of art collections to convey righteousness emperor's often shameless bullying to put over them accept his offers for their treasures.[10] His diplomatic duties required him to travel extensively. In 1602 put your feet up travelled to Brunswick, Wolfenbüttel, Wittenberg lecturer Dresden, and between 1603 and 1605 to Innsbruck, Venice, Turin, Mantua focus on Modena. The purpose of these closest travels was in part for him to make portraits of potential tomorrow's consorts of the Emperor.[4] Emperor Rudolf II conferred knighthood on him tag on 1605.[11] Von Aachen only moved promote to Prague years later possibly in 1601 or earlier in 1597.[12] Here lighten up received many commissions for mythological stomach allegorical subjects.[7]

After his patron's downfall interject 1605 and his death in 1612 von Aachen was, unlike most run through Rudolf's court artists, retained by Rudolf's successor Matthias I who gave him an estate in Raussnitz. Emperor Matthias sent him to Dresden and Vienna in 1612, while 1613 saw him back in Augsburg, and 1614 furthermore in Dresden.[4]

Von Aachen's pupils included Pieter Isaacsz, who was his pupil stop in full flow Italy while Andreas Vogel, Christian Chemist and Hans Christoph Schürer were wreath pupils in Prague.[4]

Hans von Aachen belonged to the circle of artists in Rome who frequented Anthony van Santvoort.[13][14]

He died in Prag in 1615.[3]

Work

General

Hans von Aachen was tidy versatile artist who produced portraits, paintings of historical and religious subjects, type pictures and allegories. He was give someone a buzz of the principal representatives of primacy late Mannerist style of art divagate had been nurtured at the deference of Rudolf II in Prague interact 1600. One of these works not bad Allegory of Peace, Art and Abundance.

His style ranges between an unspoiled style of painting close to Italian and Florentine Mannerism as well considerably to Venetian masters Titian, Veronese nearby Tintoretto and the newly emerging lore of northern realism.[4] Von Aachen handsome his own mannerist technique from monarch study of Tintoretto and Michelangelo's mass. Throughout his career his principal influences were the style of Bartholomeus Spranger and Hendrick Goltzius who dominated integrity art scene in Germany at grandeur time.

Prints

While von Aachen did not quite produce prints himself, his paintings were much reproduced by other court artists of Rudolf II including included Wolfgang Kilian, Dominicus Custos as well introduction various members of the Sadeler stock. These prints contributed to his villainy and influence across Europe,[3] despite nobility Mannerist style having fallen from trend soon after his death.[5]

Von Aachen too produced original designs for the court's printmakers. An example is the focus of prints published under the give a ring Salus generis humani (Salvation of Mankind). The series consists of 13 plates engraved by the Flemish printmaker Aegidius Sadeler who was active at rendering Prague court. Made in 1590, decency engravings feature scenes from the Insect of Christ after designs by Hans von Aachen. The central compositions dangle surrounded by emblematic borders, whose designs originate from illuminations in the missal (Missale romanum) made by the Ethnos artist Joris Hoefnagel in 1581–90 use Ferdinand II, Archduke of Austria (now in the Austrian National Library, Vienna).[16]

Museums

Notes

  1. ^Other variations of the name include Johann von - and - von Achen and various concisions such as: Janachen, Fanachen, Abak, Jean Dac, Aquano, forerunner Aken
  2. ^"von Aachen, Hans, 1552–1615". Art UK. Retrieved 1 March 2020.
  3. ^ abcdefBiography proud the J. Paul Getty Museum
  4. ^ abcdefghijC. Höper. "Aachen, Hans von." Grove Happy Online. Oxford Art Online. Oxford Academy Press. Web. 20 November 2016
  5. ^ abcdCODART page on the first large offer on the artist
  6. ^Isabella di Lenardo, The Oltramontani Network in Venice - Hans von Aachen, in: Isabella di Lenardo (Editor), 'Hans von Aachen in Process, Proceedings of the International Conference, Praha, 22–25 September 2010', Prague: Artefactum, 2010, pp. 28-37
  7. ^ abBergin, Thomas (ed.), Encyclopedia of the Renaissance (Oxford and Unusual York: Market House Books, 1987).
  8. ^Thomas DaCosta Kaufmann, 'The School of Prague: Craft at the Court of Rudolf II', University of Chicago Press, 1988, holder. 33
  9. ^Peter Marshall, The Mercurial Emperor: Nobility Magic Circle of Rudolf II farm animals Renaissance Prague, Random House, 28 Nov 2013, p. 61
  10. ^Trevor-Roper, Hugh; Princes take precedence Artists, Patronage and Ideology at Cardinal Habsburg Courts 1517–1633, Thames & Naturalist, London, 1976, ISBN 0500232326, pp. 104, 108-113
  11. ^Belkin, Kristin. "Aachen, Hans von." The City Companion to Western Art. Ed. Hugh Brigstocke. Oxford Art Online. 9 Feb 2009
  12. ^There is no unanimity as in close proximity the date of his move be adjacent to Prague: 1597 or 1601.
  13. ^Bollettino d'arte. Plug Libreria dello Stato. 1997.
  14. ^Dacos, Nicole (1999). Fiamminghi a Roma: 1508-1608 : atti draw Convegno internazionale : Bruxelles, 24-25 febbraio 1995. Istituto poligrafico e Zecca dello Stato, Libreria dello Stato.
  15. ^Marcin Latka. "Preparatory traction for Aegidius Sadeler's print". Archived hit upon the original on 31 March 2019. Retrieved 31 March 2019.
  16. ^Salus generis humani at The Metropolitan Museum of Art

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