Pieter Aertsen

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Aertsen, Pieter

 

Born in 1508 or 1509 in Amsterdam; buried there June 3, 1575. Dutch painter.

Aertsen, who worked in Amsterdam and Antwerp from 1535 to 1555, was one of the founders of democratic genre painting in Netherlandish art. He combined elements from Italian mannerism (monumental figures, elongate proportions, affected gestures and poses, and dramatic spatial changes) with the traditions of old Netherlandish painting, which brought out the innate dignity of ordinary objects. Aertsen’s genre paintings (The Cook, 1559, Museum of Ancient Art, Brussels) and the genre motifs in his religious scenes (Christ in the House of Martha, 1559, Museum of Ancient Art, Brussels) are often permeated by moralistic symbolism, reflecting the tense religious and social struggle that took place in the Netherlands in the 16th century.

REFERENCE

Genaille, R. “L’oeuvre de Pieter Aertsen.” Gazette des Beaux-Arts, 1954, vol. 44, November, pages 267–88.
References in periodicals archive ?
For example, that on the Woman Taken in Adultery not only contains relatively predictable yet always art historically informed discussion of Rembrandt and Poussin, but also of Max Beckmann's poignant Christ and the Sinner of 1917, and (new to this reviewer) the 16th-century Antwerp-based artist, Pieter Aertsen, whose 'powerfully mysterious' (p.
Aertsen and Andreas Speer (Berlin: De Gruyter, 1996), 57-73, at 67.
For an analysis that argues that Aquinas did not recognize beauty as a transcendental, see Jan Aertsen, Medieval Philosophy and the Transcendentals: The Case of Thomas Aquinas (Leiden: E.
Estos elementos de contexto estarian, ademas, pre-determinando el tipo de tematicas que se discuten en estas instancias, limitando asi el potencial de comunicacion entre las partes (Vanfraechem, Bolivar, & Aertsen, 2015).
This is my position, even though I may have seemed to identify with that of Aertsen and O'Reilly in my review of the latter's book (Wilson, "Review of Aesthetic Perception: A Thomistic Perspective").
A traves de Aertsen, Polo y Millan Puelles)", Revista espanola de Filosofia Medieval, Sofime--Sociedad de Filosofia Medieval, no 16, Zaragoza, 2009, 89-94.
Deckers D, Vanlint D, Callewaert L, Aertsen A, Michiels C.
Freek Aertsen, managing partner at EyeOn, on September 19 at 12:00 pm CET.
Aertsen is a good example to show two important, but temporally very distant moments of a media change (Fig.
Victor Aertsen ha desentranado las vinculaciones entre el director Woody Allen y el Ayuntamiento de Barcelona y la Generalitat con el objeto de desarrollar Vicky Cristina Barcelona (Allen, 2008), un producto cinematografico que, ademas de contar una historia, sirviera de vehiculo para reforzar la identidad barcelonesa y catalana, intentando alejarla de los topicos de "lo espanol", a la vez que favoreciese la llegada de turistas a la ciudad.
Aertsen (Amsterdam: VU University Press, 1995), 115-32, does so in detail.
In addition to the momentum provided by these volumes, three other collections of essays have promoted the interest of literary scholars in this medieval genre, namely, the books edited by Aertsen and MacDonald (1990), Putter and Gilbert (2000) and McDonald (2004).