Jan van Huijsumalso spelled Huijsum, (April 15, 1682, Amsterdam - February 8, 1749, Amsterdam) was a Dutch painter. He was the brother of Jacob van Huysum, the son of the flower painter Justus van Huysum, and the grandson of Jan van Huysum I, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind; for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains. Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736-1737). No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come Berlin and Amsterdam with four fruit and flower pieces; then St Petersburg, Munich, Hanover, Dresden, the Hague, Brunswick, Vienna, Carlsruhe, Boston and Copenhagen. | |||
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Blumen und Fruchte Gemälde ID:: 74949 Siehe Galerie in Schweden |
Blumen und Fruchte 1st half of 18th century Oil on panel 81 X 61 cm cjr 1st_half_of_18th_century _ Oil_on_panel _ _81_X_61_cm_ cjr |
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Blumen und Fruchte Gemälde ID:: 75796 Siehe Galerie in Schweden |
Blumen und Fruchte Date 1st half of 18th century Medium Oil on panel cyf Date_1st_half_of_18th_century _ Medium_Oil_on_panel _ cyf |
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of grapes and a peach on a table top Gemälde ID:: 76053 Siehe Galerie in Schweden |
of grapes and a peach on a table top Date 17th century? Medium oil? Dimensions ? x cm cyf Date_17th_century? _ Medium_oil? _ Dimensions_?_x_cm _ cyf |
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Blumen und Fruchte Gemälde ID:: 76488 Siehe Galerie in Schweden |
Blumen und Fruchte Date 1st half of 18th century Medium Oil on panel Dimensions Deutsch: 81 x 61 cm cyf Date_1st_half_of_18th_century _ Medium_Oil_on_panel _ Dimensions_Deutsch:_81_x_61_cm_ cyf |
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Vase of Flowers in a Niche Gemälde ID:: 89128 Siehe Galerie in Schweden |
Vase of Flowers in a Niche between 1720(1720) and 1740(1740) Medium oil on wood cyf between_1720(1720)_and_1740(1740) _ Medium_oil_on_wood _ cyf |
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| Vorheriger Künstler Nächster Künstler | ||||||||||
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| Jan van Huijsum | ||||||||||
| also spelled Huijsum, (April 15, 1682, Amsterdam - February 8, 1749, Amsterdam) was a Dutch painter. He was the brother of Jacob van Huysum, the son of the flower painter Justus van Huysum, and the grandson of Jan van Huysum I, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind; for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains. Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736-1737). No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come Berlin and Amsterdam with four fruit and flower pieces; then St Petersburg, Munich, Hanover, Dresden, the Hague, Brunswick, Vienna, Carlsruhe, Boston and Copenhagen. | ||||||||||
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