吉利斯范.科宁克斯洛Coninxloo, Gillis van（1544年1月—1607年1月24日），佛兰德画家。
他出生在安特卫普并研究了下Pieter van Aelst Coecke、Lenaert克罗斯和Gillis Mostaert。他随法国在完成他的训练。他成为了安特卫普的一员圣卢克的公会1570年,在安特卫普工作直到1585年安特卫普下降西班牙语。他离开的第一个船帆然后在1587年法兰肯塔尔直到1595年他活跃。然后,他搬到阿姆斯特丹他于1607年去世。
他有许多的学生包括Pieter布鲁盖尔的年轻,Govert Govertsz·范·阿纳姆Willem van den BundelGillis van Coninxloo三世,乔纳斯·范·默尔大力神Seghers和雅克·范德Wijen
1598年森林景观,列支敦士登集合
Coninxloo排名的最重要的一个佛兰德风景画家在17世纪。他强烈的影Jan布鲁盖尔老,Pieter Schoubroeck,Roelandt Savery和其他弗兰德和荷兰景观这一时期的画家。
他早期的风景北部矫揉造作者版本的建立世界格局类型,虽然有密切的看法树木已经缩小了全景。从1590年代开始Coninxloo新方法引入佛兰德的山水画,特写视图的森林让人想起Albrecht阿尔道夫和多瑙河学校近一个世纪前,几乎或完全关闭一个遥远的观点。虽然早些时候森林景观利用森林作为人类活动的背景下,范Coninxloo将他们变成淹没的主题的微小的人物在精心构图的树木非常夸张的尺度。1598年的森林景观列支敦士登集合是第一个工作采取这种方法,它的极端:天空是仅在几个补丁可见分支和一个小小的人类图之间靠在树下。[2]这幅画达到伟大的强度和大气质量通过精美的棕色和绿色的阴影以及强调光线的处理。
在法兰肯塔尔期间从1588年到1595年,他几个更著名的佛兰德流亡风景画家的影响,他现在统称为“法兰肯塔尔学校”。17世纪早期艺术历史学家卡雷尔·曼德在他写ConinxlooSchilder-boeck。范·曼德说Coninxloo的老师Pieter Van Aelst Coeke是他的表兄,我知道这个时候没有更好的风景画家,我注意到他们都跟着他的方式在荷兰。
他的作品传播的影响在荷兰为大规模打印通过他设计,主要由佛兰德流亡版画复制匠刻尼古拉斯•德•Bruyn和Jan van Londerseel发表在荷兰共和国。
He was born in Antwerp and studied under Pieter Coecke van Aelst, Lenaert Kroes and Gillis Mostaert. He travelled in France after completing his training. He became a member of the Antwerp Guild of Saint Luke in 1570 and worked in Antwerp until 1585 when Antwerp fell to the Spanish. He left first for Middelburg and then in 1587 forFrankenthal where he was active until 1595. He then moved toAmsterdam where he died in 1607.
He had many pupils including Pieter Brueghel the Younger, Govert Govertsz van Arnhem, Willem van den Bundel, Gillis van Coninxloo III, Jonas van Merle, Hercules Seghers and Jacques van der Wijen.
Coninxloo ranks as one of the most important Flemish landscape painters of around the turn of the 17th century. He exercised a strong influence on Jan Brueghel the Elder, Pieter Schoubroeck,Roelandt Savery, and other Flemish and Dutch landscape painters of this period.
His early landscapes were often Northern Mannerist versions of the established world landscape type, though with close views of trees already narrowing the panoramic view. Beginning in the 1590s Coninxloo introduced a new approach into Flemish landscape painting, with close-up views of forests reminiscent of Albrecht Altdorfer and the Danube school nearly a century earlier and almost or entirely shutting out a distant view. While earlier forest landscapes had used forests as the backdrop for human activity, van Coninxloo turned them into the subject proper by submerging tiny human figures in elaborate compositions of trees on a hugely exaggerated scale. A Forest Landscape of 1598 in theLiechtenstein Collection is the first work to take this approach to its extreme: the sky is only visible in a few patches between branches and a single tiny human figure reclines under a tree This painting achieves great intensity and atmospheric quality through its fine shades of brown and green and its accentuated handling of light.
During his stay in Frankenthal from 1588 to 1595, he influenced several better known Flemish émigré landscape painters, who are now collectively referred to as the 'Frankenthal School'. The early 17th century art historian Karel van Mander wrote about Coninxloo in his Schilder-boeck. Van Mander stated that Coninxloo's teacher Pieter Coeke van Aelst was his cousin, and that I know at this time of no better landscape painter, and I notice that they are following his manner very much in Holland
The influence of his work spread in Holland by means of his designs for large-scale prints, mainly engraved by Flemish émigré printmakers Nicolaes de Bruyn and Jan van Londerseel who published in the Dutch Republic.
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