Jacob van Campen


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Jacob van Campen
Birthday
BirthplaceHaarlem, Holland, Dutch Republic
Died

Campen, Jacob Van

 

Born Feb. 2, 1595, in Haarlem; died Sept. 13, 1657, in Randenbroek, near Amersfoort. Dutch architect.

Van Campen, the son of a landowner, apparently received artistic training in Italy (1615–21), where he studied the work of Palladio. From 1621 to 1630 he worked in Haarlem. His work is representative of 17th-century Dutch classicism. Van Campen developed an imposing, restrained, and somewhat cold style. His major works included the small Mauritshuis in The Hague (in collaboration with P. Post, 1633–35) and the Town Hall in Amsterdam (now the Royal Palace, 1648–55). The Town Hall is characterized by clearly delineated architectural elements. It has a domed rotunda and a four-story vaulted Burgher Hall.

REFERENCE

Swillens, P. T. A. Jacob van Campen. Assen, 1961.
References in periodicals archive ?
The exhibition at Kunsthal KAdE handsomely installed in a high-ceilinged, semi-subterranean rectangular space, with smaller galleries running along one side at ground-floor level - follows Van Wittel from a fairly impoverished childhood in Amersfoort to a fruitful apprenticeship with Matthias Withoos, an associate of the architect Jacob van Campen; to Hoorn, where Withoos fled to escape the predations of the French and British during the rampjaar ('Disaster Year) of 1672; and, not long after that, to Italy.
Around the same time authorities also captured and interrogated Jacob van Campen, another Anabaptist leader.
Yet Jan came away with his life, whereas Jacob van Campen was executed in an elaborate and cruel fashion.
Thus, Aechen Jansdr, one of the so-called "naked runners," was "publicly hanged in front of her house, then strangled and killed." (77) It is not entirely clear why she was hanged in front of her house rather than before the local court (vierschaar), as was the case with Fye Daenen, who aided the Anabaptist bishop Jacob van Campen. (78) Possibly it was done to show her neighbors that the strong arm of the law could reach into every part of Amsterdam.
The mitre that Jacob van Campen had to wear, for example, symbolized his leading role--he was a bishop, authorized to baptize people.
Ultimately, the architecture of Jacob van Campen, Salomon de Bray, and Pieter Post can be seen to reflect this return to a more strictly classical model, thus ushering in a new age of classicism in Holland.
1654, after a design by Johannes Lutma, probably in collaboration with Jacob van Campen (1595-1657)
These commissions represent a climax in the artist's career as a Classicist painter of the first generation and emphasise his close contacts with other painters from Haarlem (such as Jacob van Campen and Pieter de Grebber) and Antwerp.