Pieter Cornelisz van Rijck was one of the "important contemporary Painters" listed by Karel van Mander
, artist biographer and chronicler of the Dutch Golden Age.
As Todd Richardson points out in his preface, the paintings of Pieter Bruegel the Elder have been the subject of continuous research since Karel van Mander
first included him in his account of Dutch and Flemish painters in 1604.
In this detailed exploration of seventeenth century notions of connoisseurship, the author draws on treatises from such art theorists and artists as Karel van Mander
(1548-1606), Giulio Mancini (1558-1630), Abraham Bosse (c.
1) Karel van Mander
contributed to such fame through the laudatory vita of Von Aachen included in his Schilder-boeck (1609).
The young Hals displayed his talent for portraiture early on, and recognizing this gift, his parents secured his training with the most highly regarded local artist of the time, Karel van Mander
And Sellink usefully reminds the reader that the greater part of Bruegel's oeuvre is concerned with religious themes; Bruegel's reputation above all as a painter of peasant scenes is due in part to the numerous copies of his peasant pictures by his son Pieter the Younger, and perhaps most of all to the written account of Karel van Mander
, the biographer of Netherlandish artists, who was particularly taken with Bruegel's interest in the life of farmers.
It began with the first historian of northern art, Karel van Mander
, who--around 1600--took his hometown of Haarlem to be an artistic cradle.
Prague, wrote the painter and writer Karel van Mander
in 1604, was the one city which the art lover must visit if he was to see all that was newest and best in contemporary Europe.
He engaged skilled painters, including Karel van Mander
and Hendrick Cornelis Vroom, to design complex tapestries, such as a series commemorating the British defeat of the Spanish Armada.
He observed "how they ate, drank, danced, capered, or made love, all of which he was well able to reproduce cleverly and pleasantly," wrote chronicler Karel van Mander
Titian, an artist frequently adopted by Rembrandt in this book, especially for his subject of Danae, formed the prototype for the "lifelike" painting camp already by the 1604 theorizing by Karel van Mander
in his Schilderboeck.
Goltzius's preoccupation with his identity and others' perception of it, as related in the biography written by his friend Karel van Mander
and published in 1604, is especially appealing to modern readers.