奥斯塔Adriaen Isenbrandt，生于1480年，荷兰画家。
只有少数纪录片记录他的生活,和一些提到文学从他一生中或之后不久,但他不能记录的创造者任何幸存的工作,一切由假说。有可能是他出生在哈勒姆甚至在安特卫普约1490人。现在还不知道在哪儿举行或画家,他完成了他的学徒生涯。
他在1510年首次被命名为,当他来到布鲁日,买了他burghership。同年11月,他已经成为了画家的主圣卢克的公会和金斯密斯学院行会的圣Elooi。他后来被选为9倍“执事”(旧荷兰:vinder)和两次州长(旧荷兰:gouverneur =会计)的公会。
很快,他有一个重要的研讨会,可能在科特Vlaminckstraat布鲁日。这是接近的车间杰拉德大卫,Vlamijncbrugghe和前车间汉斯·梅姆林一样。布鲁日,那时,是欧洲最富有的城市之一。丰富的商人和商人下令双连画和肖像画供个人使用。Isenbrandt漆主要用于私人客户。然而,有一些作品没有任何特定的委员会创建的。他甚至有足够的工作的工作其他画家在布鲁日,作为一个法律诉讼从1534年1月Isenbrandt对范艾克(不是著名的那一位)未交付的画他下令,演示了。他还任命代理在布鲁日的画家Adriaan Provoost(儿子Jan Provoost),他在1530年搬到安特卫普。当代来源因此提到Isenbrandt作为一个著名的和富裕的画家。
圣格雷戈里伟大的质量(约1510 - 1550),油在面板中,362×292毫米(14.3×11.5英寸),保罗·盖蒂博物馆
他结过两次婚,第一次与玛丽亚Grandeel,画家的女儿彼得Grandeel。他们有一个孩子。1537年她去世后,他在1547年再次结婚与克莱门德Haerne。这第二次婚姻导致两个女儿和一个儿子。他也有一个婚外的女儿与客栈老板Katelijne van Brandenburch(在同一他的朋友的女主人Ambrosius本森).
当他死后,在布鲁日,1551年,他被安葬在他的第一任妻子在圣雅各教堂的墓地,他的孩子继承了不少于四个房子周围的财产。
随着艾伯特Cornelis(前1513 - 1531)Ambrosius本森(前1518 - 1550),一个画家伦巴第,他在车间工作布鲁日的著名画家杰拉德•大卫,而他已经掌握。Isenbrandt书中提到德Brugensibus eruditionis农夫claris书册的祭司托尼斯Sanderus发表在阿姆斯特丹在1624年。这位作家是指文本的佛罗伦萨罗多维科Guicciardini的Schilderboeck卡雷尔·曼德和(失去)根特法学家的笔记狄俄尼索斯Hardwijn(或Harduinus,1530 - 1604)。后者,他花了几年在布鲁日约1550,提到Isenbrandt老的弟子杰拉德大卫,谁超越“裸体和肖像”。[3][4]他可能去过热那亚1511年在一起约阿希姆Patinir大卫和杰拉德。杰拉德大卫的影响显示明显的成分和景观背景归因于Isenbrandt工作。
在他的的重要展览目录早期的佛兰德布鲁日硕士在1902年,根特伟大的早期佛兰德艺术鉴赏家和艺术历史学家乔治Hulin de厕所,得出的结论是,Isenbrandt实际上是匿名的七悲伤的圣母和大量的画作的作者以前归因于杰拉德大卫和Jan Mostaert德国艺术历史学家古斯塔夫•弗里德里希•Waagen.[5]他因此有时也被称为Pseudo-Mostaert。[6]即使这归因Isenbrandt不能被证明毫无疑问,现在一些艺术史学家普遍接受,尽管很多人认为Isenbrandt是一个方便的标签由许多不同的艺术家的作品。
没有幸存的绘画由Isenbrandt可以坚定地记录。文档说明他发送一些绘画从安特卫普到西班牙表明出口以及当地市场工作,并建议他的国际声誉。两幅画通常与他约会,1518年:
他第一次的一幅画(c . 1518—1521)是“七悲伤的圣母崇拜的家庭·范·德·”,可以看到一个记事板,教堂的圣母在布鲁日和其左面板比利时皇家美术博物馆布鲁塞尔。
等主要的艺术家,这是常见的做法Isenbrandt,只油漆他的作品的主要部分,如脸和他的肉体部分数据。他的脸和肉棕色区域分开色素。背景是当时填写的助手。最后的工作质量在很大程度上取决于执行的质量和助理的能力,导致他的作品质量的不均匀。这些助理也画,这是常见的做法在这些时期,许多版本的“麦当娜和孩子”,被归因于Isenbrandt,让他有一个巨大的声誉的作品。布鲁日的展览早期荷兰绘画因此在1902年显示大量的作品。不像许多当代的同事,他只是记录一个助理,Cornelis van Callenberghe,他在1520年加入了他的工作室。
1520年,他曾在一起艾伯特Cornelis和Lanceloot Blondeel的装饰凯旋归来。的皇帝查理五世布鲁日。
他的绘画一丝不苟地执行和改进。他的数据画在温暖的色调,更活泼的颜色,比杰拉德大卫的作品。尤其是火红的一个田园诗般的背景或深蓝色的郁郁葱葱,丘陵景观与城堡坐落在一个垂直的岩石(Isenbrandt典型),蜿蜒的河流和thick-leaved树(显示杰拉德大卫的影响)。他不仅复制杰拉德大卫的成分,但也从老画家等Jan范艾克,Hugo van der走和汉斯·梅姆林一样。他借来的成分Jan Gossaert(导致这个画家的混乱)和图纸Albrecht Durer和马丁Schongauer。这种借用老作品的顺序,常见的做法。不过画的奥斯塔Isenbrandt保留自己的个性。
他还画了一些肖像,肖像等保卢斯de Nigro(Groeninge博物馆,布鲁日),“男人重黄金”(1515 - 1520)(纽约大都会博物馆)和“年轻人与一串念珠”(诺顿西蒙博物馆,帕萨迪纳,加利福尼亚州)。这些肖像,即使他们是典型的和无生命的,柔软的触觉和执行晕涂法轮廓的影响。
意大利文艺复兴的影响中可以看到详细的时尚风景等元素泵体,古色古香的支柱和ram的脑袋,比如在他绘画的“圣格雷戈里的质量伟大的“(j . Paul Getty博物馆、洛杉矶)。和“玛丽和儿童”(1520 - 1530)(博物馆、阿姆斯特丹)。通过这些元素可以被视为文艺复兴的先驱画家Lanceloot Blondeel.
他经常与之相比Ambrosius本森(c . 1495—1495),一个画家伦巴第他移居到布鲁日。他可能Isenbrandt引入了模糊的技术。
加上本森,Isenbrandt属于一代重叠和杰拉德大卫和成功的一代Jan Provoost.
There are only a few documentary records of his life, and some mentions in literature from his lifetime or soon after, but he cannot be documented as the creator of any surviving work; everything else consists of hypothesis. It is possible that he was born in Haarlem or even in Antwerp about 1490. It is not known where or with which painter he served his apprenticeship.
He is named for the first time in 1510, when he came to Bruges and bought his burghership. In November of the same year he already became master in the painters' Guild of St. Luke and the goldsmiths' guild of St. Elooi. He was later elected nine times as a "deacon" (in Old Dutch : vinder) and twice the governor (in Old Dutch : gouverneur = treasurer) of the guild.
Soon he had an important workshop, probably in the Korte Vlaminckstraat in Bruges. This was close to the workshop of Gerard David, at the Vlamijncbrugghe and the former workshop of Hans Memling. Bruges, at that time, was one of the richest towns in Europe. Rich traders and merchants ordered diptychs and portraits for personal use. Isenbrandt painted mainly for private clients. However, there were some paintings that were created without any particular commission. He had enough work to even put out work to other painters in Bruges, as a legal suit from 1534 by Isenbrandt against Jan van Eyck (not the famous one) for non-delivery of paintings he had ordered, demonstrates. He was also appointed the agent in Bruges of the painter Adriaan Provoost (son of Jan Provoost), who had moved to Antwerp in 1530. Contemporary sources therefore mention Isenbrandt as a famous and well-to-do painter.
He married twice, the first time with Maria Grandeel, daughter of the painter Peter Grandeel. They had one child. After her death in 1537, he married again in 1547 with Clementine de Haerne. This second marriage resulted in two daughters and a son.[2] He also had an extramarital daughter with the innkeeper Katelijne van Brandenburch (who was at the same the mistress of his friend Ambrosius Benson).
When he died, at Bruges, in 1551, he was buried alongside his first wife at the cemetery of the St. Jacob church there; his children inherited no less than four houses with surrounding property.
Along with Albert Cornelis (before 1513–1531) and Ambrosius Benson (before 1518–1550), a painter from Lombardy, he worked in the workshop of Bruges' leading painter Gerard David, while he was already a master at that time. Isenbrandt is mentioned in the book De Brugensibus eruditionis fama claris libri duo of the priest Antonius Sanderus, published in Amsterdam in 1624. This writer refers to texts of the Florentine Lodovico Guicciardini, the Schilderboeck of Karel van Mander and the (lost) notes of the Ghent jurist Dionysius Hardwijn (or Harduinus, 1530–1604). The latter, who had spent several years in Bruges about 1550, mentions Isenbrandt as a disciple of the old Gerard David, who excelled "in nudes and in portraits".[3][4] He may have travelled to Genoa in 1511 together with Joachim Patinirand Gerard David. The influence of Gerard David shows clearly in the composition and the landscape background of the works attributed to Isenbrandt.
In his critical exhibition catalogue of Early Flemish Masters in Bruges in 1902, the Ghent great connoisseur of early Flemish Art and art historian Georges Hulin de Loo, came to the conclusion that Isenbrandt was actually the anonymous Master of the Seven Sorrows of the Virgin and the author of a large body of paintings previously attributed to Gerard David and Jan Mostaert by the German art historian Gustav Friedrich Waagen.[5] He is therefore sometimes called the Pseudo-Mostaert.[6] Even if this attribution to Isenbrandt cannot be proven without doubt, it is now generally accepted by some art historians, although many others regard Isenbrandt as a convenient label for a body of work by many different artists.
No surviving painting can be firmly documented as by Isenbrandt. A document stating that he sent some paintings from Antwerp to Spain shows that worked for export as well as the local market, and suggests his international reputation. Two paintings usually associated with him are dated, both in 1518 :
One of his first paintings (c. 1518–1521) was the "Our Lady of the Seven Sorrows, adored by the family Van de Velde", a diptych that can be seen in the Church of Our Lady in Bruges and its left panel in the Royal Museums of Fine Arts of Belgium, Brussels.
It was common practice for major artists, such as Isenbrandt, to paint only the major parts of his paintings, such as faces and the flesh parts of his figures. His faces and flesh areas are set apart by brown pigment. The background was then filled in by assistants. The end quality of a work depended largely on the quality of the execution and the competency of the assistants, leading to an uneven quality of his works. These assistants also painted, as this was common practice in those times, many versions of the "Madonna and Child", that were then attributed to Isenbrandt, giving him the reputation of having had an enormous body of work. The exhibition in Bruges of Early Netherlandish painting in 1902 showed therefore a large collection of his works. Unlike many contemporary colleagues, he is only documented with one assistant, Cornelis van Callenberghe, who joined his workshop in 1520.
In 1520 he worked, together with Albert Cornelis and Lanceloot Blondeel, on the decorations for the Triumphal Entry of Emperor Charles Vinto Bruges.
His paintings are executed meticulously and with great refinement. His figures are painted in warmer tones and more lively colours, than the works of Gerard David. Especially the flaming red or the dark blue set against an idyllic background of a lush, hilly landscape with castles situated on top of a vertical rock (typical for Isenbrandt), sinuous rivers and thick-leaved trees (showing the influence of Gerard David). He not only copied the compositions of Gerard David, but also from older painters such as Jan van Eyck, Hugo van der Goesand Hans Memling. He borrowed compositions from Jan Gossaert (leading to the confusion with this painter) and drawings from Albrecht Dürer and Martin Schongauer. Such borrowing from older compositions was the order of the day and common practice. Nevertheless the paintings of Adriaen Isenbrandt retain their individuality.
He also painted some portraits, such as the portrait of Paulus de Nigro (Groeninge Museum, Bruges ), "Man weighing gold" (1515–1520) (Metropolitan Museum, New York ) and "Young Man with a Rosary" (Norton Simon Museum, Pasadena, California ). These portraits, even if they are stereotypical and lifeless, are executed with a soft touch and sfumato effect in the contours.
The influence of the Italian Renaissance can be seen in the detailed addition of fashionable scenery elements such as volutes, antique pillars and ram's heads, such as in his painting of the "Mass of Saint Gregory the Great" ( J. Paul Getty Museum, Los Angeles ). and "Mary and Child" (1520–1530) (Rijksmuseum, Amsterdam ). Through these elements he may be regarded as a precursor of the Renaissance painter Lanceloot Blondeel.
He is often compared with Ambrosius Benson (c. 1495–1550), a painter from Lombardy who emigrated to Bruges. He may have introduced the sfumato technique to Isenbrandt.
Together with Benson, Isenbrandt belongs to a generation overlapping and succeeding the generation of Gerard David and Jan Provoost.
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