United States or Angola ? Vote for the TOP Country of the Week !
Among his best pictures are 'The Floating Feather, a feather given with singular lightness drifting in a pool, with different birds on the water and the shore a pelican prominent in Amsterdam Museum, and 'A Hen defending her Chickens against the attacks of a Pea-hen, with a Peacock, a Pigeon, a Cassowary, and a Crane, also in Amsterdam. Jan Weenix, born in 1644, died in 1719.
But what of the remainder of this insignificant composition with its toad and cows, its meaningless landscape? The Weenix swan is richer in paint texture. The Holbeins are two anyhow of splendid quality. Of the Rubenses it is better to defer mention until Antwerp is reached. They are of unequal value. The same may be said of the Van Dycks. Look at that baby girl standing by a chair.
They looked like rooms accustomed to receive, and receive in a friendly way; well warmed, well lighted, card-tables and piano each in the place that made cards and music inviting; on the walls a few old family portraits, and three or four other pictures said to be valuable and certainly pleasing, two Watteaus, a Canaletti, a Weenix; plenty of easy-chairs and settees covered with a cheerful chintz, in the arrangement of the furniture generally an indescribable careless elegance.
Here the ancient and modern Dutch painters are seen at their best, and I know of no richer feast of this sort. Here Rembrandt is to be seen in his glory; here Van der Helst, Jan Steen, Gerard Douw, Teniers the younger, Hondekoeter, Weenix, Ostade, Cuyp, and other names as familiar. These men also painted what they saw, the people, the landscapes, with which they were familiar.
And in the achievement of a type of beauty so national and vernacular, the votaries of purely Dutch art might well feel that the Italianisers, like Berghem, Boll, and Jan Weenix went so far afield in vain.
And in the achievement of a type of beauty so national and vernacular, the votaries of purely Dutch art might well feel that the Italianisers, like Berghem, Boll, and Jan Weenix went so far afield in vain.
Melchior was born in 1636, and studied for a time with his father; but meantime his aunt Josina had married Jan Baptist Weenix, and a son was born to them, Jan Weenix, who inherited from old Giles Hondecoeter, his grandfather, his talent for painting poultry, and from his father, Jan Baptist Weenix, he acquired the benefit of several influences which were not shared by his cousin Melchior.
They looked like rooms accustomed to receive, and receive in a friendly way; well warmed, well lighted, card-tables and piano each in the place that made cards and music inviting; on the walls a few old family portraits, and three or four other pictures said to be valuable and certainly pleasing, two Watteaus, a Canaletti, a Weenix; plenty of easy-chairs and settees covered with a cheerful chintz, in the arrangement of the furniture generally an indescribable careless elegance.
But it is not in any particular salon or palace that we must look for the effects of Rubens' influence; it was far wider than to be able to be contained within four walls. In portraiture he gave us Van Dyck; in historical subjects, Jacob Jordaens; in animal painting and still life, Frans Snyders, Jan Fyt, and the brothers Weenix.
JAN BAPTIST WEENIX, who was nicknamed "Rattle," was born at Amsterdam about 1621. His father was an architect, who bred his son up to that profession, but he was afterwards put to study painting under Abraham Bloemart. Soon after his marriage with Josina he was seized with the desire to visit Italy, and he set off alone to Rome, promising to return in four months.
Word Of The Day