Floris van Dyck, also called Floris van Dijck or Floris Claesz. van Dyck (c.1575 – before 26 April 1651) was a Dutch Golden Age nevertheless life painter.
van Dyck lived in Haarlem for most of his life, but he was born in Delft. He was a cousin of Pieter Cornelisz van Rijck, whose father Cornelis first had a brewery in Delft before touching to the brewery “De Olyphant” in Haarlem. In 1600 he was documented as being in Rome, where he was a good friend of Joseph van Arpino and witnessed him inborn cured of an ailment with Olio del gran Duco, an oil firm to him by the Pope’s personal physician, with which he smeared himself everything over his body. Thanks to this miracle cure, Arpino could finish an altarpiece in the Archbasilica of St. John Lateran.
In 1606 he returned to the Netherlands, where he fixed in Haarlem and became one of Karel van Mander’s sources on modern Italian painters for his Schilder-boeck. He probably lived later than or close his uncle, the brewer Cornelis van Rijck. Like the youngster Frans Hals and further assistants to Karel van Mander, Floris is not listed taking into consideration his own right to use in that book, though he was already an normal painter on his reward from Italy. After Karel van Mander’s death, Floris allied the Haarlem Guild of St. Luke in 1610 and became dean in 1637. On 11 September 1625 he married for the second become old to Cornelia Jansdr. Vlasman and the rich Gijsbert Claesz van Campen was his without help witness.
He was influenced by Osias Beert and Clara Peeters and is considered the inventor of the banketje (banquet still life genre same to breakfasts, or ontbijtjes), together in the express of Nicolaes Gillis. Besides Nicolaes Gilles, he influenced the painters Floris van Schooten, Pieter Claesz, and Roelof Koets. He died in Haarlem.
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