科内利斯Gijbrechts, Cornelis（1630年——1675年），佛兰德画家。
现在还不知道确切位置和Gijsbrechts出生时,在他生命的最后几年和他的活动也没有,就像他的名字不是当代艺术历史文献中提到的。他的古老绘画可追溯到1657年。他大概是在1660年代初,德国等地方雷根斯堡,他可能会一直在皇帝利奥波德我的服务,但不是事实。约1664/1665,据推测,Gijsbrechts去汉堡,他呆了几年。
Gijsbrechts来到丹麦在1668年最新的,在这里,他被聘为法院艺术家的丹麦国王独裁弗雷德里克三世从1668年到70年,以后基督教V从1670 - 72。他的工作室在皇家花园Rosenborg城堡从1670年他自称宫廷画师。
在1670 - 72年期间,他收到付款好几绘画,绘画为Rosenborg主义者城堡。后离开哥本哈根他被认为是斯德哥尔摩,1673年他画一个大字母架委托的资产阶级。1675年,他又一次在德国,这也是他最后一年的工作。以后,很少知道他的活动。
在他四年在哥本哈根,Gijsbrechts画约22错视画油画的10个国家美术馆的收藏中发现丹麦(史坦顿博物馆Kunst-烟)。只有大约70工作肯定可以归因于Gijsbrechts,因此它是非常了不起,22日在哥本哈根所发现的这些都是今天。除了19在烟工作,两个工作在Rosenborg找到城堡,和一个在国家历史博物馆Frederiksborg城堡。集在哥本哈根被视为世界上最大、最重要的Gijsbrechts集合。
Gijsbrechts几乎只画错视画和虚无绘画即是受欢迎的在17世纪下半叶。
由Gijsbrechts是已知最早的绘画的虚无静物画从1657年开始。直到1662年,他主要是在这个流派。大多数时候,他虚空的静物画由积累的传统象征着生命的无常,如一个头骨的花环稻草,花在花瓶里,烧毁了蜡烛,和沙漏,指的是人类生活的测量时间。
1662年之后,Gijsbrechts放弃了纯粹虚空静物画,让虚空图案进入更复杂的错视画组成部分元素,如所谓的工作室墙壁,信架(时代的公告栏),董事会墙壁狩猎实现和乐器,和“chantournes”(挖空)。后者采取了欺骗眼睛的一步,画树或亚麻布也切成一个形状为了愚弄观众相信他们是站在一个三维对象。错觉的说服力,Gijsbrechts主要画主题和对象自然环境中发现的皇室成员,和他画这些尽可能接近自然的大小。
在文体上,Gijsbrechts被荷兰人的影响Jan Davidsz de Heem。在早些时候,他的作品被多次误认为是作品Franciscus Gijsbrechts.
大部分的22个绘画Gijsbrechts画在哥本哈根为国王的角度来看。好奇心的皇家内阁包括等所谓的角度室显示选择的错视画作品,透视框和筑绘画由中央的角度。“观众收到一个真正特别欢迎在哥本哈根:机智、活泼,充满了奇妙的惊喜的错视画幻想和三维图像角度框,17世纪几乎不可思议的游客。”[4]29日的库存从1690年列举了15个角度室是由Gijsbrechts绘画。
It is not known with certainty where and when Gijsbrechts was born, and his activities in the last years of his life are also undocumented, just as his name is not mentioned in the contemporary art historical literature.His oldest known painting is dated 1657. He was probably in Germany in the early 1660s, among other places in Regensburg, where he might have been in Emperor Leopold I’s service, but this is not known for a fact. Around 1664/1665, it is presumed that Gijsbrechts went to Hamburg where he stayed for a few years.
Gijsbrechts came to Denmark at the latest in 1668, and here he was hired as court artist by the autocratic Danish kingFrederik III from 1668–70, and hereafter by Christian V from 1670-72. He had his studio in The Royal Garden by Rosenborg Castle and from 1670 he called himself Court painter.
In the period 1670-72 he received payment for several paintings, i.a. paintings for Rosenborg Castle. After having leftCopenhagen, he is believed to have been in Stockholm, where in 1673 he painted a large letter rack commissioned by the bourgeoisie of the town. In 1675, he was once again in Germany and this is also the year in which his last known work was made. Hereafter, very little is known of his activities.
During his four years in Copenhagen, Gijsbrechts painted about 22 trompe l’oeil paintings out of which 10 are found in the collection of The National Gallery of Denmark (Statens Museum for Kunst - SMK). Only about 70 works can with certainty be attributed to Gijsbrechts, and is it therefore quite remarkable that 22 of these are found in Copenhagen today. Besides the 19 works at SMK, two works are found at Rosenborg Castle, and one at The Museum of National History at Frederiksborg Castle. The collection in Copenhagen is viewed as the largest and most important Gijsbrechts collection in the world.
Gijsbrechts almost exclusively painted trompe l’oeil and vanitas paintings which were popular around the second half of the 17th century.
The earliest known painting by Gijsbrechts is a vanitas still life from 1657. Up until 1662 he primarily worked in this genre. Most often, his vanitas still lifes consist of accumulations of traditional symbols of the transience of life, e.g. a skull with a wreath of straw, flowers in a vase, a burned down candle, and an hourglass, referring to the measured time of human life.
After 1662, Gijsbrechts abandoned the pure vanitas still life paintings to allow the vanitas motifs to enter into more complex trompe l’oeil compositions as partial elements, e.g. in the so-called studio walls, letter racks (the notice boards of the era), board walls with hunting implements and musical instruments, and “chantournés” (cut-outs). The latter took the deception of the eye one step further, as the painted tree or linen was also cut in a shape meant to fool spectators into believing that they were standing in front of a three-dimensional object. For the illusion to be convincing, Gijsbrechts primarily painted motifs and objects naturally found in the surroundings of the royal family, and he painted these as close to the natural sizes as possible.
Stylistically, Gijsbrechts was influenced by the Dutchman Jan Davidsz de Heem. Earlier on, his works were on several occasions mistaken for works of Franciscus Gijsbrechts.
Most of the 22 paintings Gijsbrechts painted in Copenhagen were for the King’s Perspective Chamber. The Royal Cabinet of Curiosities included among others a so-called Perspective Chamber which displayed a selection of trompe l’oeil works, perspective boxes and architectural paintings made from the central perspective. “Audiences received a truly special welcome in Copenhagen: witty and playful, full of wondrous surprises in the form of trompe l’oeil illusions and three-dimensional images in perspective boxes, almost magical to 17th century visitors.”An inventory from 1690 enumerates that 15 of the 29 Perspective Chamber paintings were made by Gijsbrechts.
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