阿贝尔·格里米尔Abel Grimmer（1573年 - 1619年）比利时文艺复兴时期的画家。
严峻出生和死亡安特卫普。从他的父亲,他学会了画山水画家雅各严峻。他父亲雅各严峻为自己确立了一个名字,模仿的作品老布鲁小面板上的图片和在市场上销售这些较低的价格。
亚伯严峻结婚Catharina Lescornet 1591年9月29日,成为主人的安特卫普圣卢克的公会在1592年。他接管了他父亲的工厂。他在安特卫普在他的整个职业生涯。去世的日期不清楚,被放置在1620年之后。
巴别塔的
他常常签署和过时的面板。他最早日期工作可以追溯到1586年,他的最新日期写着“162”,日期为1620年或以后。他主要是出名的是他的画在小格式的场景,有时圣经的主题。工作有时在圆盘的形式(即圆的格式)。他的许多作品都是献给四季或一年的十二个月。绘画有时受甚至从老布鲁打印和复制汉斯·波尔.亚伯的工作通常显示了强大的影响力,勃鲁盖尔和波尔以及他自己的父亲的工作。系列的十二个月(1592年;在圣母院薛潘举行Montfaucon-en-Velay)是一种精确的副本奥斯塔Collaert打印后的绘画由汉斯·波尔和出版的Hans van Luyck在1585年。这些画春天和夏天(安特卫普皇家美术博物馆)几乎是两个打印的精确副本Pieter van der Heyden在设计老布鲁。
亚伯严峻的工作的特点是简化和systemisation人物和风景。他景观展示灿烂的色彩的和声和一定的线性度,通过他们稍微图示作品和他们的代表建筑几何形状的倾向。他的作品已经被解雇,因为这种简化及其依赖他人的工作。然而,这种组合,使他在安特卫普市场生存。他设法如此多产的因为他的技术。每个图形区域的景观由单一颜色很少或根本没有调制。他应用最小涂漆,这消除了圆度和反射的影响。建立景观的因袭和编纂公式允许他这些作品几乎和打印便宜和广泛使用。雅各严峻是第一个荷兰的艺术家打破传统的山地景观开创约阿希姆Patinir所谓的创始人世界格局。亚伯严峻而描绘广泛的佛兰德乡村景观的特点是自然主义和自然的近距离观察。
教堂内部
亚伯严峻的一个最喜欢的主题是他的巴别塔产生了几个版本,显然受到启发老布鲁的治疗相同的主题。来自创世纪11:1-9。这讲述的故事,决定建立一个城市和一座塔到达天堂。圣经人物尼姆罗德被任命为监督项目的建设。这个故事是一个丰富的主题为各种16和17世纪佛兰德的画家。他们表示灵感来自1563年的两部作品老布鲁在这个主题艺术历史博物馆维也纳;博物馆Boijmans Van Beuningen,鹿特丹)。他巴别塔的故事是一个本质上反映人类亵渎神明和傲慢,道德的消息已经隐含在Bruegel的绘画。巴别塔的架构在严峻的画作的主题呼应罗马圆形大剧场在16世纪,它象征着罗马帝国的衰败。严峻的待遇这一主题也可以解释为一个评论他生活的动荡时期。他的祖国——西班牙荷兰——当时他创造了分离的绘画进行斗争新教在北方省份。巴别塔的故事也告诉一个人说一种语言的世界突然夹杂着许多不同的语言的理解。这个平行的16世纪,当一旦曼联荷兰分为南部天主教和新教北大力辩论的解释圣经和教会的作用。亚伯严峻与几个不同的图画家提供了staffage巴贝尔的画作。
亚伯严峻也产生了建筑作品包括教堂内部,如哥特式教堂的室内一个方济会的修道士布道(1983年3月9日在伦敦索斯比拍卖行拍卖)。他的兴趣的角度和使用金光预测教会内部的荷兰画家的作品Pieter Saenredam。他的画作的内部视图,如一个球(Wrotham公园,赫特福德郡)和耶稣的马大和马利亚(比利时皇家美术博物馆)亚伯把室内空间的兴趣。两件作品都明显受到汉斯Vredeman德弗里斯他也描绘了一幅耶稣的马大和马利亚(皇家收藏).他依靠其他艺术家等弗朗斯·弗兰肯年轻油漆staffage在他的建筑作品。[3]他偶尔也会画教堂没有staffage内饰。一个例子就是教会内部(盖伦Galerie)。这描绘了一个教堂内部没有任何数据和显示了艺术家的兴趣在建筑和氛围。早期学者认为亚伯也是一位建筑师的基础上两个签名山墙的建筑图纸分别描绘海拔安特卫普大教堂和教堂山墙哥特塔尖。
Grimmer was born and died in Antwerp. He learned to paint from his father, the landscape painter Jacob Grimmer. His father Jacob Grimmer had established a name for himself by imitating the work of Pieter Bruegel the Elder on small panel pictures and selling these on the market at low prices.
Abel Grimmer married Catharina Lescornet on 29 September 1591 and became a master of the Antwerp Guild of Saint Luke in 1592.[3] He took over his father's workshop. He worked his whole career in Antwerp. The date of his death is not know exactly and is placed after 1620.
He often signed and dated his panels.[1] His earliest dated work dates from 1586 and his latest dated work reads "162", so it is dated 1620 or later.[4] He is principally known for his paintings in small format of country scenes, sometimes with a biblical theme.[3] The works were at times in the form of roundels (i.e. in a round format). Many of his paintings were dedicated to the Four Seasons or the Months of the Year. The paintings were sometimes inspired by or even copied from prints by Pieter Bruegel the Elder and Hans Bol.[1] Abel's work generally shows a strong influence of Bruegel and Bol as well as of his own father’s work. His series of the Twelve Months (dated 1592; held in the Chapelle Notre-Dame in Montfaucon-en-Velay) is an exact copy ofAdriaen Collaert’s prints made after paintings by Hans Bol and published by Hans van Luyck in 1585. The paintings Spring andSummer (Royal Museum of Fine Arts Antwerp) are almost exact copies of two prints by Pieter van der Heyden after designs by Pieter Bruegel the Elder.
Abel Grimmer's work is characterised by the simplification and systemisation of figures and landscapes. His landscapes show splendid colour harmonies and a certain linearity, through their slightly schematized compositions and their tendency to represent buildings as geometric shapes. His work has been dismissed because of this simplification and its reliance on the work of others. However, it is this combination that enabled him to survive in the Antwerp marketplace. He managed to be so prolific because he had streamlined his technique. Each pictorial area of his landscapes was composed in a single color with little or no modulation. He applied minimal varnishing, which eliminated the effects of roundness and reflection. This stylization and codification of established landscape formulas allowed him to make these works almost as inexpensive and widely available as prints.[1] Jacob Grimmer was one of the first Netherlandish artists to break with the tradition of the mountain landscape pioneered by Joachim Patinir, the founder of the so-called world landscape. Abel Grimmer rather depicted broad landscapes of the Flemish countryside characterised by naturalism and a close observation of nature.
Church interior
A favourite theme of Abel Grimmer was the Tower of Babel of which he produced several versions, clearly inspired by Pieter Bruegel the Elder's treatment of the same subject.[5] The subject is taken from the Book of Genesis 11:1-9. This narrates the story of the decision to build a city and a tower reaching into the heavens. The biblical character Nimrod was appointed to oversee the project's construction. This story was a rich source of subject matter for various late 16th and early 17th century Flemish painters. Their representations were inspired by the two works of 1563 by Pieter Bruegel the Elder on this subject matter (Kunsthistorisches Museum, Vienna; and Museum Boijmans Van Beuningen, Rotterdam).[6] The story of he Tower of Babel is a in essence a reflection on human impiety and hubris, a moral message already implicit in both Bruegel’s paintings. The architecture of the Tower of Babel in Grimmer's paintings of the subject echoes that of the Colosseum, which in the 16th-century symbolised the decay of imperial Rome. Grimmer's treatment of this subject can also be interpreted as a comment on the turbulent times in which he was living. His home country - the Spanish Netherlands - was at the time he created the paintings engaged in a struggle with the breakaway Protestant provinces in the north. The story of the Tower of Babel also tells about a world in which people speaking one language are suddenly riven with the incomprehension of many different languages. This paralleled the 16th century, when the once united Netherlands became divided between a Catholic south and a Protestant north which vigorously debated the interpretation of the bible and the role of the church. Abel Grimmer collaborated with several different figure painters who provided the staffage in his Babel paintings.
Abel Grimmer also produced architectural paintings including church interiors such as the Interior of a Gothic Church with a Franciscan Monk Preaching (sold at Sotheby’s in London on 9 March 1983). His interest in perspective and the use of a golden light anticipate the work of the Dutch painter of church interiors Pieter Saenredam. His paintings of interior views, such as A Ball (Wrotham Park, Hertfordshire) and Jesus in the House of Martha and Mary (Royal Museums of Fine Arts of Belgium) show Abel's interest in portraying interior space. Both works are clearly inspired by Hans Vredeman de Vries who also painted a Jesus in the House of Martha and Mary (Royal Collection).[3][8] He relied on other artists such as Frans Francken the Younger to paint the staffage in his architectural paintings. He would occasionally paint church interiors without staffage. An example is the Church interior (Galen Galerie). This depicts a church interior without any figures and shows the artist's interest in architecture and atmosphere.Earlier scholars suggested that Abel was also an architect on the basis of two autograph architectural drawings depicting respectively an elevation of the gable of Antwerp Cathedral and a church gable with a Gothic spire.
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