亚伯拉罕 · 范.贝耶伦Beyeren, Abraham van（1620年—1690年3月），荷兰画家。
静物与鱼
亚伯拉罕·Beijeren训练Tyman Arentsz。Cracht在1636年。他住在莱顿在1638 - 1639年,1639年,他结婚Emmerentia Stercke。他于1640年在海牙,他成为了一名当地的主人圣卢克的公会.
他的第一任妻子去世后他抚养三个女儿。在1647年他和安娜结婚van den Queborn。他的第二任妻子是一个画家,画家的女儿Crispijn van den Queborn。安娜的姑姑结婚了Pieter de推杆静物画,画家的鱼。De推杆的来源可能是范Beijeren最初的兴趣类型的鱼静物画以及他的导师在这个流派。
范Beijeren最初的海洋和鱼静物画作品。这些都不是很好,相对贫困的范Beijeren或许可以解释他的频繁的从一个地方移动到另一个地方。他居住在代尔夫特从1657年,他加入了当地工会的圣路加福音。1663年,他回到了海牙当他搬到直到1669年才卸任阿姆斯特丹。之后进一步举措:阿尔克马尔在1669年,然后英国产的在1675年最后Overschie(鹿特丹)在1677年。这是他最后一次回家。 他可能一直在做更好的财务在晚年,他能买房子在Overschie 1000荷兰盾的600年是由抵押贷款。 据报告他的妻子生病在床上在1679年她的意志。她的死是未知的。 范Beijeren Overschie在1690年去世。
范Beijeren签署他的油画与字母组合真空断路和总是未能包含一个日期。因此,它很难编译一个精确的年代学的作品。
与艺术家的自画像Pronkstillleven银壶
在1640年代他的大部分作品是海景,van Beijeren开始发展作为一个熟练的静物画的画家鱼。他在早期的海洋绘画显示的影响Jan van列为.
在1660年代和1650年代,他开始关注pronkstillevens,如静物画好的银器,中国瓷器、玻璃和选择水果。他还画的花绘画和静物画,只死鸟的虚无绘画。搬到绘画pronkstillevens可能是出于经济需要,因为他们可以卖给富裕的顾客。这些静物画往往相当复杂的显示器和显示的影响Jan Davidsz。de Heem。他通常使用一个相当广泛的技术与一些精密的细节和棕色色调。范Beijeren可能熟悉其他pronkstillevens如荷兰画家Pieter Claesz和威廉Claeszoon Heda在单色宴会专家仍然生活。他经常工作在更大的规模比他的荷兰与他同时代的人高的油画达到1米的高度。
静物和风景(1650年代)Hohenbuchau集合
亚伯拉罕Hendriksz Pronkstilleven。范Beyeren蒙古包Eenens荷兰在苏格兰国家美术馆收藏
的苏格兰国家美术馆,维也纳美术学院,阿什莫尔博物馆(牛津大学)虹膜& b杰拉尔德·坎特视觉艺术中心(斯坦福大学,加州)克利夫兰艺术博物馆,达拉斯艺术博物馆,底特律艺术学院,博物馆de Fundatie,檀香山艺术博物馆,洛杉矶县艺术博物馆,罗浮宫,大都会艺术博物馆,明尼阿波利斯艺术研究所,国家海事博物馆(英国格林威治)纽约艺术画廊,纽约英国;费城艺术博物馆,阿姆斯特丹国立博物馆,比利时皇家美术博物馆,罗德岛设计学院博物馆,皇家城堡在华沙和西雅图艺术博物馆一些公共收藏的画作亚伯拉罕van Beyeren。 在私人收藏:蒙古包Eenens收集荷兰。
Abraham van Beijeren trained with Tyman Arentsz. Cracht in 1636. He lived in Leiden in 1638-1639 where in 1639 he married Emmerentia Stercke. He was back in The Hague in 1640 where he became a master of the local Guild of Saint Luke.
After the death of his first wife he was left to raise three daughters. He married with Anna van den Queborn in 1647. His second wife was a painter and daughter of the painter Crispijn van den Queborn. Anna's aunt was married to Pieter de Putter, a painter of fish still lifes. De Putter may have been the source of van Beijeren’s initial interest in the genre of fish still lifes as well as his tutor in this genre.
Van Beijeren’s initial works were marine and fish still life paintings. These were not very well paid at the time and the relative poverty of van Beijeren may explain his frequent moves from one place to another. He resided in Delft from 1657 where he joined the local Guild of Saint Luke. In 1663 he returned to The Hague where he remained until 1669 when he moved to Amsterdam. Further moves followed: toAlkmaar in 1669, then Gouda in 1675 and finally Overschie (Rotterdam) in 1677. This was his last home. He may have been doing better financially in his later years as he was able to buy a house in Overschie for 1,000 guilders of which 600 was covered by a mortgage.His wife was reported as being sick in bed in 1679 when she made her will. The date of her death is unknown.[4]Van Beijeren died in Overschie in 1690.
Van Beijeren signed his canvases with the monogram AVB and invariably failed to include a date. As a result, it has been difficult to compile a precise chronology of his works.
While in the 1640s most of his paintings were seascapes, van Beijeren began to develop as a skilled still life painter of fish. In his early marine paintings he shows the influence of Jan van Goyen.
In the 1650s and 1660s he started to focus on pronkstillevens, i.e. still lifes with fine silverware, Chinese porcelain, glass and selections of fruit. He also painted a number of floralstill life paintings, dead bird paintings and vanitas paintings. The move to painting pronkstillevens may have been motivated by economic necessity as they could be sold to a wealthier clientele. These still lifes are often quite elaborate displays and show the influence of Jan Davidsz. de Heem. He generally used a fairly broad technique and brown tonalities with some precision of detail. Van Beijeren was likely familiar with the other Dutch painters of pronkstillevens such as Pieter Claesz and Willem Claeszoon Heda who were specialists in monochrome banquet still lives. He often worked on a larger scale than his Dutch contemporaries with his tall canvasses reaching a height of one meter.
The Scottish National Gallery, the Academy of Fine Arts Vienna, the Ashmolean Museum (University of Oxford), the Iris & B. Gerald Cantor Center for Visual Arts (Stanford University, California), the Cleveland Museum of Art, the Dallas Museum of Art, the Detroit Institute of Arts, Museum de Fundatie, the Honolulu Museum of Art, the Los Angeles County Museum of Art, theLouvre, the Metropolitan Museum of Art, the Minneapolis Institute of Arts, the National Maritime Museum (Greenwich, UK), the York Art Gallery, York, UK; the Philadelphia Museum of Art, theRijksmuseum Amsterdam, the Royal Museums of Fine Arts of Belgium, the Rhode Island School of Design Museum, the Royal Castle in Warsaw and the Seattle Art Museum are some of the public collections that hold paintings by Abraham van Beyeren. In private collections: Ger Eenens Collection the Netherlands.
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