Hendrik Herregouts (1633 in Mechelen – 1704 in Antwerp) was a Flemish chronicles and portrait painter and draughtsman later an international career spanning Italy, Germany and his indigenous Flanders.
Hendrik Herregouts was born in Mechelen as the son of painter David Herregouts from Mechelen who moved to Roermond in 1646. Here David Herregouts built a rich career as a painter thanks to the maintain of the local Catholic Church. Hendrik’s mother was Cecile Geniets, a daughter from a associates of butchers in Mechelen. Hendrik had three brothers who became painters:
Hendrik Herregouts likely first trained below his daddy who had moved to Roermond. Hendrik Herregouts travelled to Rome at an in front age to continue his studies. He future moved to Germany. He married Anna Dorothea Cremers in Cologne in 1660 or 1661. In 1664 Hendrik Herregouts became a master of the Guild of Saint Luke in Antwerp, but some years higher we find him completing commissions in Mechelen. Here he had to colleague the local Guild of Saint Luke. Around 1679–1680, he had once again a workshop in Antwerp. His younger brother Jan Baptist likely joined him in his workshop in Antwerp. He became a zealot of the Antwerp Guild of Saint Luke in 1677. Between the years 1680 and 1690 he lived for several years in Bruges, where he was possibly associated by his brother Jan Baptist to urge on with some of the religious and secular commissions he was completing in that city. He probably intermittently travelled to Italy. He was perfect the nickname ‘Romein’ (the ‘Roman’) because of his near connection to Italy.
His marriage was reportedly not happy and he at odds from his wife. After the death of his first wife, he married a second epoch in Antwerp in 1682. His second wife was Nathalie Godijn, likely the sister of his pupil Abraham Godijn. In 1685 he time-honored a commission from the Confrerie of the Holy Sacrement to design a triumphal arch to commemorate the centenary of the restoration of the Catholic cult in the St. James’ Church, Antwerp.
His pupils included Abraham Godijn, Martinus van Nies (1679-1680); Alouysius Sammels and Cornelis Henricus van Meurs (1693-1694).
He died at an elevated age in Antwerp.
Hendrik Herregouts was terribly regarded in his become old and he usual many commissions for altarpieces and religious works in Flanders and abroad. He was also called a portrait painter. The majority of his works can be found in churches in Antwerp, Bruges, Mechelen and Cologne. A number of his works in Cologne were loose during World War II. He was influenced by the palette of various artists such as Anthony van Dyck and Peter Paul Rubens as capably as by Italian painters such as Titian, Rafael and Caravaggio. Poussin was important as an influence on his classicizing style and overall composition. His works are often on a grand scale and complex. His masterpiece is the Last Judgement in the Church of Saint Anne in Bruges, a categorically large-scale composition completed in 1685. The terrific figures in the take action are reminiscent of the Mannerist painter Raphael Coxie. A Martyrdom of Saint Matthew, originally painted for the Antwerp Cathedral is now in the St. Paul’s Church, Antwerp. A Divine Friend of Children dated 1680 in the Göttweig Abbey close Krems in Lower Austria shows his mastery of colour and composition.
He painted many portraits. His portraits are characterized by their blunt directness and keen immediacy. An example is the Portrait of Franciscus Wynckelman, voogd 1709-25 at the Hans Memlingmuseum in Bruges. He along with often collaborated with supplementary painters. He painted the staffage in the landscapes of Jan Asselijn. In his forward-looking years, he collaborated with yet life painters Gaspar Peeter Verbruggen the Younger, Simon Hardimé and Jan Baptist Bosschaert who painted flowers roughly putti and nymphs painted by Herregouts.
He provided designs for publications by Antwerp and international printers. An example is the Scholars Discover the Tetragram, the frontispiece of Henricus Engelgrave’s book Coelum Empyreum published by Joannes Busaeus in Cologne in 1666.
Herregouts has sometimes been dismayed with an obscure genre painter by the name H. or Hendrick Herdebout; There is not always unanimity greater than the attribution of Definite works to Hendrik or his brother Jan Baptist as their styles were similar.
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