Jan Lievens(Site not responding. Last check: 2007-10-09)
Lievens shared the painting studio with the slightly older Rembrandt between 1625 and 1631.
Lievens tended to paint on a larger scale than Rembrandt, often his works are life size.
Lievens travelled to England in 1632 and stayed for two years, During this time he was reputed to have painted the Royal Family, however this painting is unknown today.
Jan Lievens (Getty Museum)(Site not responding. Last check: 2007-10-09)
At age eight, JanLievens was already apprenticed to a local painter.
During the mid-1620s Lievens was a close friend of Rembrandt van Rijn, and they collaborated on paintings.
Lievens spent most of the years between 1632 and 1644 in England and Antwerp, where he was greatly impressed by the shimmering canvases of Anthony Van Dyck and Peter Paul Rubens.
Sotheby's : [JAN LIEVENS LEIDEN 1607 - 1674 AMSTERDAM] - Featured on Artfact.com(Site not responding. Last check: 2007-10-09)
Both Rembrandt and Lievens, and sometimes other artists in their close Leiden circle, often used the same model for different studies - the most famous of these is the old woman popularly known as "Rembrandt's mother".
The fanciful studies from life, often exotically costumed, that Rembrandt, Lievens and their followers painted in large numbers, are not portraits as such and are known as tronies, the term for them that was in use atleast by 1630.
Lievens' portrait of him, painted in 1629, is in the Musée de la Chartreuse, Douai, and Rembrandt's portrait is in the Dulwich Art Gallery.
Lievens went to England, probably in 1632 after Rembrandt moved to Amsterdam, but he was in Antwerp by 1635, where he was influenced by the courtly style of Van Dyck.
Aided by this description, the portrait was identified in 1936 as the portrait of Huygens by JanLievens.
Brother of Francesco Bassano II [07 Jan 1549 – 03 Jul 1592] and of Leandro Bassano [10 Jun 1557 – 15 Apr 1622].
Broad Education - Artists You Should Know: Jan Lievens(Site not responding. Last check: 2007-10-09)
Lievens is one of those artists whose career began to fade into obscurity with his death, while his one-time chum, Rembrandt, continues to gather steam with each passing century.
He was as talented as Rembrandt, showed as much potential (more, according to some of their contemporaries), and worked in the same style creating the same kinds of art.
After a while, though, Lievens decided the style of the Flemish painters was more desirable and moved away from his early roots.
ART / 4 / 2DAY(Site not responding. Last check: 2007-10-09)
Lievens went to England, probably in 1632 after Rembrandt moved to Amsterdam, but he was in Antwerp by 1635, where he was influenced by the courtly style of Van Dyck [22 Mar 1599 – 09 Dec 1641].
Gabriel Metsu was one of the leading figures in the founding of the Leiden Guild of Saint Luke of which he became a member in 1648.
Berndtson was also much influenced by the detailed genre and costume paintings of Ernest Meissonier [21 Feb 1815 – 31 Jan 1891], as seen for example in Art Lovers in the Louvre (1879), shown at the Salon of 1879, which reveals his technical skill and accuracy in the treatment of costume and interiors.
View of a Path (Getty Museum)(Site not responding. Last check: 2007-10-09)
Although JanLievens produced this and most of his landscape drawings in the studio, he still managed to capture many minute details: the varied textures of leaves in sunlight, trees with delicate hatching on their trunks, and careful shading on the path to show the sunlight and shadows.
Lievens used a rare and costly sheet of Japanese paper for this drawing.
Japanese paper was quite hard to find in the Netherlands during the 1600s, and the only other artist who used it often was Rembrandt, a friend and former colleague of Lievens.
Metsu's work reveals the influence of many different artists: in particular that of his teacher Gerard Dou, painters such as Nicolaus Knupfer and Jan Steen as well as artists from the circle of Gerard ter Borch and Johannes Vermeer.
His earliest known work, the 1658 etching of mountains in a storm, is Rembrandtesque; some of his seascapes resemble those of Jan Porcellis, while the composition of some landscapes shows the influence of Adam Elsheimer.
He studied under Adolf von Becker [1831–1909] at the drawing school of the Finnish Art Association in 1869 and in the drawing class of Helsinki University from 1872 to 1875, also studying privately under E. Löfgren [1825–1884] and Bernhard Reinhold [1824-1892].
Lievens was one of Rembrandt's friends and a close artistic associate during Rembrandt's Leiden period.
Roseline Bacou, Curator of Drawings at the Louvre, which possesses a number of his drawings, notes that "Lievens was above all a great portraitist, as evidenced by his sensitive yet objective fl chalk studies.
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Everyone has heard of Rembrandt, the Dutch artist who painted portraits and history themes, made around 300 etchings, and made more self-portraits than any other artist.
On December 1, 4:00 p.m.Dr. Amy Golahny, professor of art and a Rembrandt scholar, discusses JanLievens several of Lievens' early works to demonstrate how he and Rembrandt were alike in training but different in temperament.
In fact, it seems as if Lievens was ahead of Rembrandt is several ways: portraits, large biblical subjects, and etchings.
Also called LIEVENS DE OUDE, LIVIUS JOHANIS LE VIEUX, or JOHANNIS LIVENS, Lievens also spelled LIEVERSZ(OON), LYRINS, or LEYRENS.
Style derived from both Dutch and Flemish schools of Baroque art.
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