Karel Van Mander

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Mander, Karel Van


(also Carel van Mander). Born in 1548 in Meulebeke, Flanders; died Sept. 2, 1606, in Amsterdam. Dutch painter, poet, art historian, and art theorist.

Between 1569 and 1573, van Mander wrote religious dramas. He lived in Rome from 1573 to 1577. Upon his return to the Low Countries in 1583, he founded in Haarlem the first Dutch academy of arts with H. Goltzius and Cornelisz van Haarlem. Van Mander wrote The Painter’s Book, whose most interesting section was a collection of biographies of Dutch and German artists that was modeled on Vasari’s Lives. The book is an extremely important source for the study of 15th- and 16th-century Northern European art. Van Mander’s work as a theorist and painter (mythological and genre compositions) showed a tendency toward mannerism.


Het schilderboeck. Haarlem, 1604.
Het schilderboeck. [Utrecht, 1969.]
In Russian translation:
Kniga o khudozhnikakh. Moscow-Leningrad, 1940.


Noë, H. Carel van Mander en Italië. The Hague, 1954.
References in periodicals archive ?
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.
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).
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.
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, ".
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.
Dubbed "the Netherlandish Proteus" by famed contemporary Karel van Mander, Goltzius made a career of ventriloquizing the styles and techniques of older Italian and German artists.
Richly illustrated with color and black-and-white reproductions of the artists' works, fascinating collateral imagery such as Jacques de Gheyn II's Karel van Mander on His Deathbed (259), and seventeenth-century maps and documents, van Straten's book provides a valuable resource for scholars' specific questions about Rembrandt's and Lievens's artistic production, professional relationship, and patrons.
The designer, generally known as the Master of the Small Landscapes, has been identified variously as Pieter Bruegel the Elder, Cornelis Cort and others, including most plausibly the Brussels native Joos van Liere (whom Karel van Mander praised for his 'artful' landscape paintings and watercolours).
The author also explains how de Gheyn's images of nature and witchcraft are described, respectively, by the critical terms near het leven and uyt den gheest that Karel van Mander introduced to Dutch art criticism in 1604 to define images made "after life" (near het leven) and images made "from the mind or the spirit" (uyt den gheest).