Terbrugghen Hendrick oil paintings, floral oil painting

Hendrick Terbrugghen
Dutch artist
born 1588 - died 1629

Terbrugghen, Hendrick (hen'drik terbroog'hun) [key], 1588–1629, Dutch painter, a leading member of the Utrecht school. Hendrick Terbrugghen was a pupil of the history painter Bloemaert before living (c.1604–14) in Italy. Crowning of Thorns (1620; Copenhagen) is his first known dated work. Like his contemporaries Honthorst and Baburen, Hendrick Terbrugghen was largely influenced by Caravaggio, although an awareness of Dürer and Lucas van Leyden recurs throughout his work.

His intimate and restrained genre compositions foreshadow in coloring the work of Vermeer. Many of Terbrugghen's paintings are nighttime genre scenes. His work is represented in the major European museums. Typical examples are his St. Sebastian (Allen Mus., Oberlin, Ohio), Old Man Writing (Smith College Mus., Northampton, Mass.), and Crucifixion (1620s; Metropolitan Mus.).

Dutch painter, one of the earliest and finest exponents of Caravaggism in northern Europe. Born into a Catholic family, Hendrick Terbrugghen grew up in Utrecht, studied there with Bloemaert, then spent about a decade in Rome (c. 1604-1614). On his return to the Netherlands Hendrick Terbrugghen became with Honthorst the leader of Caravaggism associated with the Utrecht school. A second journey to Italy (c. 1620) has been postulated, as his later works are generally more thoroughly Caravaggesque than his earlier ones. - Terbrugghen Hendrick oil paintings, floral oil painting - Terbrugghen Hendrick art and still life oil painting floral –still life oil painting floral, Terbrugghen Hendrick Bio by paintings supply of floral oil paintings Terbrugghen.
Terbrugghen was chiefly a religious painter, but Hendrick Terbrugghen also produced some remarkable genre works, notably a pair of Flute Players (Staatliche Kunstsammlungen, Kassel, 1621), which in their subtle tonality - with dark figures placed against a light background - anticipated by a generation the achievement of painters of the Delft school such as Fabritius and Vermeer.
Although Hendrick Terbrugghen was praised by Rubens, who visited Utrecht in 1627, Terbrugghen was neglected by 18th- and 19th-century collectors and historians. The rediscovery of his sensitive and poetic paintings has been part of the reappraisal of Caravaggesque art during the 20th century.

The tending of Saint Sebastian by Irene was a popular theme in seventeenth-century art, indicative of a contemporary drive to project Catholicism as a caring faith. The extraordinary power and pathos of Ter Brugghen's painting is largely due to the compact immediacy of the figures, and the artist's skilled manipulation of eerie, crepuscular lighting effects.

The popularity that the story of Saint Sebastian and Irene gained at the beginning of the seventeenth century was due at least in part to the Counter-Reformatory focus on the early history of the Church.1 Saint Sebastian was applauded as a militant defender and martyr of the Church, and as the epitome of steadfast faith; Irene, as a virtuous and pious woman. The increased importance accorded Irene in seventeenth-century depictions may have been fostered by the publication of Caesar Baronius's Annales ecclesiastici (1586), which placed much emphasis on her life. More generally, the seventeenth-century focus on the tender ministrations of Irene--rather than on the isolated and pathetic figure of the near-martyred (arrow-pierced) saint--expressed the Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility.2

Saint Sebastian's intercession was commonly invoked against the plague, a disease that claimed many victims in pre-modern Europe. In Utrecht, for example, large numbers of people succumbed to the disease in the years 1624-32 and 1634-37.3 It is quite possible that representations of Saint Sebastian were inspired by particularly virulent outbreaks of the plague.

Although Saint Sebastian appears occasionally in Dutch art prior to the seventeenth century, the theme was decidedly more popular in Catholic countries such as Italy, France, and Flanders. In the northern Netherlands in the seventeenth century, it appears to have enjoyed widespread popularity only in Utrecht, one of the few Dutch cities that was predominantly Catholic. - Terbrugghen Hendrick oil paintings, floral oil painting - Terbrugghen Hendrick art and still life oil painting floral –still life oil painting floral, Terbrugghen Hendrick Bio by paintings supply of floral oil paintings Terbrugghen.

Several representations of Saint Sebastian are known to have been commissioned by Dutch militia companies (schutterijen) under the patronage of this saint.4 In Utrecht, however, these companies played a comparatively minor role, and Carr's assertion that Ter Brugghen's painting, now at Oberlin, was commissioned by such a militia company appears to be unfounded.5

Like many other early seventeenth-century interpretations of Saint Sebastian tended by Irene, Ter Brugghen's Saint Sebastian adopts the formal conventions of depictions of Christ's Descent from the Cross: a pathetically lifeless, seminude male figure, supported and tended by two or more (female) figures. Compositionally, Ter Brugghen's painting is related to--and probably influenced by--nearly contemporaneous representations of the subject by other Utrecht Caravaggisti.

The titles of oil painting old master Hendrick Terbrugghen