This is Bartholomeus Breenbergh

By Gwylym Owen

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Bartholomeus Breenbergh (before 13 November 1598 – after 3 October 1657) was a Dutch Golden Age painter of Italian and Italianate landscapes, in Rome (1619-1630) and Amsterdam (1630-1657).

Little is known of his at the forefront life. In his three-volume Schouburg, Arnold Houbraken mentioned him in his first volume afterward an entreaty to readers to write to him similar to more news of Breenbergh’s biography. He had been told that Breenberg was born in Utrecht and had been a master of Cornelis van Poelenburgh, which he knew to be impossible from the facts that he already had, namely “the birth of Poelenburg in 1586 and the death of Breenberg in 1660.” Houbraken never normal the opinion he requested, though he mentioned Breenbergh again in his second volume in a list of 59 gifted painters who were contemporaries of Abraham Bloemaert and Paulus Potter.

According to the Netherlands Institute for Art History (RKD), Breenbergh was born in the Netherlands town of Deventer, but after the death of his dad in 1607 moved away past the on fire of his family, probably to Hoorn. There he was a contemporary of Jacques Waben and possibly traditional his first training, though his first school is now supposed to be “one of those many forgotten Amsterdam landscape painters of the 1610s”. His registered teachers are Pieter Lastman and Jacob Symonsz Pynas.

Breenbergh is first registered as a painter upon an archival record in 1619 in Amsterdam, though he possibly was expected there earlier.

In the thesame year he left for Rome. There he lived and worked in the vent of the Flemish painter Frans van de Kasteele and was heavily influenced by option Fleming resident, the landscape painter Paul Bril. From 1623, however, he came below the spell of Italian landscapes by the somewhat older Cornelis van Poelenburgh—indeed, the works of Breenbergh and van Poelenburgh are sometimes hard to say apart. He was moreover influenced by Nicolaes Moeyaert. Breenbergh in his slant influenced the French landscape-painter Claude Lorrain (who arrived in the city very nearly 1620). In about 1620 Breenbergh became one of the founders of the Roman intervention of Dutch and Flemish painters, the Bentvueghels, among whom he was nicknamed “het fret” (the ferret).

In 1630 Breenbergh returned to Amsterdam. In 1633 he married, and traditional a twelve-monthly wage of 60 pounds from the court of king Charles I of Britain. He remained in Amsterdam until his death, where he made popular paintings and etchings of Italian buildings. There he was influenced by the pre-Rembrandtists such as Pieter Lastman and Nicolaes Moeyaert, but he placed their Biblical and mythological scenes in Italian landscapes.

His only registered pupil is Jan de Bisschop, who was his pupil in the 1640s until 1648. He influenced the painters Jan Linsen, Scipione Compagno, Laurens Barata, Charles Cornelisz. de Hooch, Pieter Anthonisz. van Groenewegen, Francois van Knibbergen, and Catharina van Knibbergen.

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