Search results
Results from the WOW.Com Content Network
Jan Luiken made the engravings for the popular "sailor's bible" called "Lusthof des Gemoeds", by Jan Philipsz Schabaalje, 1714 Jan Luyken's print of the peat boat used as a ruse by the Dutch to gain possession of Breda from the Spanish in 1590. He was born and died in Amsterdam, where he learned engraving from his father Kaspar Luyken. [1]
Het Menselyk Bedryf ("The Book of Trades") is an emblem book of 100 engravings by Jan Luyken and his son Caspar published in 1694, illustrating various trades in Amsterdam during the Dutch Golden Age. The majority of the trades shown are from the textile industry (12), followed by marine pursuits (8).
In general, artists are included that are mentioned at the ArtCyclopedia [1] website, in the Grove Dictionary of Art, [2] and/or whose paintings regularly sell for over $20,000 at auctions. [3] Active painters are therefore underrepresented, while more than half of the artists are baroque painters of the 17th century, roughly corresponding to ...
The first volume appeared in 1718, and was followed by the second volume in 1719, the year Houbraken died. The third and last volume was published posthumously by Houbraken's wife and children in 1721. This work is considered to be a very important source of information on 17th-century artists of the Netherlands.
Caspar Luyken (18 December 1672 – 4 October 1708) was a Dutch illustrator and engraver. He was the son of Jan Luyken with whom he collaborated extensively. [1]Luyken worked mostly in Amsterdam, and produced Het Menselyk Bedryf ("The Book of Trades") with his father in 1694.
Pages in category "17th-century painters" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes. A. Adrián de Alesio; B.
17th-century war artists (9 P) This page was last edited on 3 January 2021, at 21:20 (UTC). Text is available under the Creative Commons Attribution ...
The enormous success of 17th-century Dutch painting overpowered the work of subsequent generations, and no Dutch painter of the 18th century—nor, arguably, a 19th-century one before Van Gogh—is well known outside the Netherlands. Already by the end of the period artists were complaining that buyers were more interested in dead than living ...