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 ?
This was more than the atavistic scenes of medieval meat markets that Pieter Aertsen painted in the sixteenth century.
The style appeared quite suddenly between 1580 and 1585 in Cremona and Bologna, and its development was heavily influenced by similar genre paintings by Flemish artists Pieter Aertsen and Joachim Beuckelaer." Wealthy merchants and bankers--some of whom were no doubt the subjects of Campi's portraiture--imported examples of those Flemish genre paintings to northern Italy, and Campi would have had ready access to them.
Although the prohibition of images, the second of the Ten Commandments, is part of the foundational history of monotheism, I will begin precisely with an image: Still Life, or Christ with Maria and Martha by Pieter Aertsen, dated to 1552.
This is a fundamental problem which does not seem to pose itself to Pieter Aertsen because he safeguards his painting against an ungodly view, indicating the spiritual references unequivocally.
Other painters include Jan van Eyck and Pieter Aertsen (d.
The very sober still lifes of Clara Peeters redacted the more opulent tradition of artists like Pieter Aertsen and Jan Brueghel the Elder.
McKeon moves fluidly from the gospel account to the "genre" paintings of the scene popular in the sixteenth and seventeenth centuries, turning to Tintoretto, Vermeer, and Velazquez, as well as to several Dutch realists including Pieter Aertsen and Vincenzo Campi (whose rendition provides the book's cover art).
Whereas today we might call Pieter Aertsen's Meat Stall a hybrid image because, behind the butcher's products, we take note of the choice offered between the exemplum of Caritas (the Virgin handing out alms) and that of Luxuria (the carousing peasants), I am not certain the Antwerp burgher would have made the same distinction between foreground and background.
Stoichita begins with an extended reading of Pieter Aertsen's Christ in the House of Mary and Martha in Vienna, where the traditional relationship between religious subject and still-life details is overturned.
Mark Meadow studies the juxtaposition of near and distant in Pieter Aertsen's "Christ in the House of Martha and Mary" both in terms of Serlian architecture and sixteenth-century drama, the large-scale dramatic competitions between the rederijker chambers.