马腾范.海姆斯凯克Maarten van Heemskerck（1498年6月1日——1574年10月1日），荷兰画家。
Heemskerck出生在村亨斯科克，北荷兰省，半路之间阿尔克马尔和哈勒姆。他是一个叫雅各布Willemsz农民的儿子。面包车维恩。据他的传记卡雷尔·曼德，他开始了他与画家科尼利厄斯Willemsz艺术培训哈勒姆，但被召回亨斯科克由他的父亲在家庭农场工作。不过，在做作与他的父亲，他再次离开，这次是代尔夫特，师从参数一月Lucasz，移动到哈勒姆，在那里他成为了学生之前的Jan van Scorel，学习他的老师的创新Italian-画影响的样式。
Heemskerck随后来到位于圣马丁- Bavokerk，彼得·扬Foppesz（他的名字面包车曼德这样写道彼得伊恩Fopsen）富裕的牧师的家中住宿。他们知道在亨斯科克对方，因为Foppesz拥有的土地。画家画了他的现在著名的全家福，被认为是首开先河的在荷兰的家庭画一长排。他的其他作品Foppesz包括两名真人大小的人物，象征着太阳和月亮的床架和的照片亚当和夏娃 “，而规模较小但（据说）生活模式之后。”他的下家是在一个金匠，贾斯特斯Cornelisz的房子，在哈莱姆的边缘。
之前，在掀起意大利大旅游 1532年，Heemskerck画一景圣 路加画圣母圣路加在Bavokerk坛。题字，并入一个TROMP视画标签上画开始“这张照片是从它的画家，貂Heemskerck一回忆，他在这里奉献了他的劳动，以圣卢克为顾及他的同事在他的职业证明，中这是圣人是靠山。“
他走遍了整个北部和中部意大利各地，在罗马，在那里，他从面包车Scorel介绍信到有影响力的荷兰基本停止Enckenvoirt威廉。
很明显，使他获得了他被选为与合作的场景，画家的快速执行该设施的小安东尼奥·达·桑加罗，巴蒂斯塔佛朗哥和弗朗西斯德'罗西（伊尔萨尔维亚蒂）上的粉饰门圣塞巴斯蒂亚在罗马作为荣誉的凯旋门（1536年4月5日）查理五世。瓦萨里，谁看到了战斗片这亨斯科克那么产生的，说他们很好组成，大胆执行。
而在罗马，他做古典雕塑和建筑图纸众多，其中许多现在生存下来两个速写本在Kupferstichkabinett柏林。他把它们作为整个职业生涯中的其余部分源材料。这其中有卡比托利欧布鲁特斯，面包车Heemskerck是第一个知名的艺术家，使这个现在著名的半身像的素描。
在他返回了荷兰的在1536年，他定居回到哈勒姆，在那里他成为了会长圣路加哈勒姆协会（1540年），两次结婚（他的第一个妻子和孩子在分娩过程中死亡），并获得了大量利润丰厚实践。
在他的风格的改变，他的意大利的经验所带来的不普遍的赞赏。据面包车曼德，“在一些他没有提高它的最好的法官，除在认为一个特定的，他的外形比以前更加优美。”
他画的大祭坛为他的朋友，艺术保护者和后来烈士新教改革，科内利斯Muys （NL）（也称为Musius）。Muys已经从一个时期，法国在1538年回到了荷兰和之前在代尔夫特圣阿加莎回廊变成了（后来成为普林森霍夫）。在代尔夫特这个利润丰厚，并高调做事赚Heemskerck佣金的祭坛在新教堂（代尔夫特）为他们的圣路加公会。1553年，他成为牧师的的圣马丁- Bavokerk，在那里他担任了22年（直到新教改革）。1572年，他离开了哈勒姆阿姆斯特丹，避免哈勒姆的围攻而西班牙人铺设的地方。
Heemskerck was born in the village of Heemskerk, North Holland, halfway between Alkmaar and Haarlem. He was the son of a farmer called Jacob Willemsz. van Veen. According to his biography by Karel van Mander, he began his artistic training with the painter Cornelius Willemsz in Haarlem, but was recalled to Heemskerk by his father to work on the family farm. However, having contrived an argument with his father he left again, this time for Delft, where he studied underJan Lucasz, before moving on to Haarlem, where he became a pupil of Jan van Scorel, learning to paint in his teacher's innovative Italian-influenced style.
Heemskerck then went to lodge at the home of the wealthy curate of the Sint-Bavokerk, Pieter Jan Foppesz (whose name van Mander writes as Pieter Ian Fopsen). They knew each other because Foppesz owned land in Heemskerk. The artist painted him in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.[2] His other works for Foppesz included two life size figures symbolising the Sun and the Moon on a bedstead, and a picture of Adam and Eve "rather smaller but (it is said) after living models".[1] His next home was in the house of a goldsmith, Justus Cornelisz, on the edge of Haarlem.
Before setting off for Italy on a Grand Tour in 1532, Heemskerck painted a scene of St. Luke painting the Virgin for the altar of St. Luke in the Bavokerk. An inscription, incorporated into a tromp l'oeil label on the painting begins "This picture is a remembrance from its painter, Marten Heemskerck; he has here dedicated his labours to St Luke as a proof of regard to his associates in his profession, of which that saint is patron".
He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal William of Enckenvoirt.
It is evident of the facility with which he acquired the rapid execution of a scene-painter that he was selected to collaborate with Antonio da Sangallo the Younger, Battista Franco and Francesco de' Rossi (Il Salviati) on the redecoration of the Porta San Sebastiano at Rome as a triumphal arch (5 April 1536) in honour of Charles V. Giorgio Vasari, who saw the battle-pieces which Heemskerk then produced, said they were well composed and boldly executed.
While in Rome where he made numerous drawings of classical sculpture and architecture, many of which survive in two sketchbooks now in theKupferstichkabinett Berlin. He was to use them as source material throughout the rest of his career. Among these are the Capitoline Brutus, van Heemskerck being the first known artist to make a sketch of this now famous bust.
On his return to the Netherlands in 1536, he settled back at Haarlem, where he became president of the Haarlem Guild of Saint Luke (in 1540), married twice (his first wife and child died during childbirth), and secured a large and lucrative practice.
The alteration in his style, brought about by his experience of Italy was not universally admired. According to van Mander, "in the opinion of some of the best judges he had not improved it, except in one particular, that his outline was more graceful than before".
He painted large altarpieces for his friend, the art maecenas and later martyr of the Protestant Reformation, Cornelis Muys (nl) (also known as Musius). Muys had returned from a period in France to the Netherlands in 1538 and became prior of the St. Agatha cloister in Delft (later became the Prinsenhof). This lucrative and high-profile work in Delft earned Heemskerck a commission for an altarpiece in the Nieuwe Kerk (Delft) for their Guild of St. Luke. In 1553 he became curate of the Sint-Bavokerk, where he served for 22 years (until the Protestant reformation). In 1572 he left Haarlem for Amsterdam, to avoid the siege of Haarlem which the Spaniards laid to the place.
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