Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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but at first he appears to have been a painter on
glass ; and some windows by him in the churches
of Goreum, and in Guelderland, are little inferior
to those of Dirk and Wouter Crabeth. It is con-
jectured, however, from his style that he was a
pupil of Jan Both, and that he may have studied
in Italy. Later in life he distinguished himself as
a painter of small historical pictures. He often
painted subjects from Roman History, processions,
and markets, in which he introduced the most re-
markable views in Rome and the vicinity. He
also painted Dutch scenery. He understood per-
spective and architectural details, and his works
are generally crowded with figures, well grouped
and draped. His pictures are rare out of Holland.
It is said, we do not know on what authority, that
he painted a view of London Bridge. He also
etched. The exact time of his death is not known,
but it was later than 1688. Among his pictures
we may name :

Amsterdam. R. Museum. An Italian Port.
„ „ An Italian Town.

„ „ A Market-place in Italy.

Berlin. Museum. Market with Temple Kuins.

{A mastcrjyiece.) 1671.
Dresden. Landscape with ruins and

Haarlem. Ifvseum. The Forum at Rome.

Hague. Museum. Roman Army on the March.

Petersburg. Hermitage. The Triumph of Scipio.
Rotterdam. Museum. The Bride of Allucius before

Scipio. 1674.

VAN DER VAART, Jan, was born at Haarlem
in 1647. He came to England in 1674, and studied
under Thomas Wijck. He began with portraits
and still-life, but after a while was employed by
William Wissing in painting draperies. In 1713
he abandoned art and took to repairing pictures ;
but ultimately he made yet another change, and
became a mezzotint engraver. He died in London
in 1721. He was the master of John Smith in
mezzotint. We have by him a few portraits,
indifferently scraped ; among them are the
following :

King Charles II. ; after Wissing.
Ann Scott, Duchess of Monmouth ; after Kneller.
Robert Fielding, called the Beau ; after Lely.
Edward 'Wetenhall, Bishop ot Cork ; ad vivum del.

VAN DER VALCK, Simon, a goldsmith and
painter, who flourished at Delft or Leyden about

VAN DER VAST. Tliis name is said to be
affixed to some etchings of landscape.

VAN DER VENNE, Adriaen, was born at Delft
in 1589, and after being for a while under Simon
Van der Valck, goldsmith at Delft, became a scholar
of Jerome van Diest. From 1618 to 1624 he was
established at Middelburg, but in 1626 he was at
the Hague, and his name occurs in the archives
of that city from that year onwards. He was a

Van der Venne


Van der Vliet

foundation member of the Pictura Society in 1656.
He painted history, allegory, landscapes, hunting
and battle pieces, and conflagrations. He showed
to most advantage when he restricted himself to
grisaille, which he took to late in life. As a
designer he furnished vignettes for an edition of
the works of the Dutch poet, Cats, and for various
printers of his time. He was also a poet, too,
himself, and published several satires. He was
a warm partisan of the House of Orange and of
the Reformed Religion. He died at the Hague,
November 12, 1662. Some of his pictures are
immense, but they are nevertheless very numerous.
The following may be named :


R. Museum.

Priace Maurice of Nassau, with
his Brothers and Cousins, all



The Fishers for Souls, an
allegory, with numerous

{And four others^



Summer (1604), Winter (1604).



Gipsy Family.



An old Castle.


Market Place.



Bonde de Guetix.



Peace Festivities of 1609, for
the treaty between the Dutch
and the Archduke Albert.



Prince Frederick Henry of

VAN DER VENNE, Hubert, the son of Adriaen
van der Venne, was born at the Hague. He
painted bas-reliefs, groups of children, vases, and
other decorations, chiefly in grisaille. His name
was inscribed on the Pictura registers at the
Hague in 1665. Pibter van der Vennb, probably
another son of Adriaen, Avas a member of the Guild
of S. Luke, at the Hague, in 1639, and a foundation
member of the Pictura Society in 1656.

the name of a family of artists of Frisian origin
settled at Haarlem. ' Venne,' or ' Fenne,' the
original form, is equivalent to the English 'Fen.'

VAN DER VINNE, Izaae, a Dutch engraver,
son of Vincent Laurenszoon van der Vinne, was
bom at Haarlem in 1665, and entered the Guild
in 1690. He etched landscapes and sea-pieces,
among them twelve views in the environs of
Haarlem, after Pieter Bout. He also etched after
A. van Ostade and T. Wijck. He subsequently
became a publisher at Haarlem, and died in that
city in 1740.

VAN DER VINNB, Jakob, bom at Haarlem in
1688, was the son of Laurens the elder, and worked
both as painter and engraver. He died in 1737.
His son Laurens, called the younger to distinguish
him from his grandfather, painted landscapes with
cattle. Bom at Haarlem in 1712, he entered the
Guild in 1735, and died in 1742.

VAN DER VINNE, Jan Laurenszoon, was the
son of Laurens the elder. He was born at Haar-
lem in 1699, and died in 1763. He painted land-
scapes, flowers, &c. He had two sons, Vincent,
{q.v.) and Jan, born 1734, died 1805, who was an
engraver and draughtsman.

VAN DER VINNE, Jan, elder son of Vincent
Laurenszoon van der Vinne, was born at Haarlem
in 1663, and was a scholar of his father and Jan
Wijck. In 1686 he came to England, where he
painted hunting subjects and horse-races. Some
of these are respectable, and show artistic know-
ledge, but others are mere house decorating.

Wainscot panels by ■him are occasionally to be
found in old houses. On his return to Haarlem he
continued to paint hunting-pieces, and occasionally
skirmishes. He acquired wealth by his art, and
towards the end of his life combined it with the
manufacture of silk. He died at Haarlem in

VAN DER VINNB, Laurens, the elder, the son
of Vincent Laurenszoon van der Vinne, was born
at Haarlem in 1668, and was instructed by his
father, whose style he attempted to follow. He
never rose above mediocrity, and his principal
merit consisted in the imitative painting of flowers
and plants, on which he was much employed by
the botanists of his time. He painted landscapes
and cattle, in the manner of Berchem, under whom
he had studied, and also engraved. He entered
the Guild at Haarlem in 1685, and died in the
same city in 1729.

VAN DER VINNE, Vincent, was the son of Jan
Laurenszoon van der Vinne, and was born at Haar-
lem in 1736. During his youth he painted fruit
and flower pieces, but afterwards adopted land-
scape and cattle painting. He was much employed
in decorating rooms with designs on canvas. He
also engraved, and painted both original pictures
and copies in water-colour. He was for a while
director of the Art Collection in the Teyler
Museum, and also carried on a trade in works of
art. He died at Haarlem in 1811. There is a
landscape by him in the Haarlem Museum.

VAN DER VINNE, Vincent Laurenszoon, was
born at Haarlem in 1629. In 1647 he was placed
under the tuition of Frans Hals. In 1649 he
entered the Guild, and in 1652-3 travelled in
Germany, Switzerland, and France, residing some
time in Paris ; and wherever he went, his ability
insured him employment. In 1657 he returned to
Haarlem, where he passed the remainder of his
life. He painted large historical and allegorical
subjects, portraits, landscapes, buildings, animals,
still-life, and drolleries ; and in each discovered
much facility of execution, and insight into nature.
His skill in the execution of heraldic shields pro-
cured him the name of the ' Raphael ' of signs.
Towards the end of his life, desire of gain in-
duced him to grasp at every commission offered,
and his last works are neghgent and hasty. His
best works are his portraits, in many of which he
approaches Hals, under whose name it is probable
that many pass. He died in 1702. The New York
Museum possesses a ' Male and Female Toper ' by
him. There is a picture ascribed to a younger
Vincent Laurenszoon de Vinne, and dated 1729, in
the Haarlem Museum.

VAN DER VLIET, Hbndrik Cornblisz, painter,
was the nephew of Willem van der Vliet, and was
born at Delft about 1612. He was the pupil of his
uncle and of Michiel Mierevelt. For some time he
practised portraiture, but afterwards distinguished
himself as a painter of perspectives and views of
church interiors in the style of Emanuel de Witte.
He often painted scenes by torch-hght. His
pictures are decorated with figures correctly
drawn. He showed much skill in his management
of chiaro-scuro, and in some of his pictures intro-
duced effects of light in the manner of Schalcken.
He died at Delft, in October, 1675. The following
are well-known works by him :

Amsterdam. B. Museum. The Old Church of Delft. 1654

„ „ Female portrait.

Berlin. Museum. Interior of a Gothic church.


Van der Vliet


Van der Werff








Tlie old Soldier and his Family.
Two Gothic interiors, with

Female portrait. 1671.
The New Church of Delft.
Interior of a Gothic 'Church.
Interior of a Protestant Church,

with figures.

One HENnRiK Willemsz Van dbb Vliet, who is
inscribed in the Guild at Delft in 1632, is by some
a=;sumed to be identical with the above, by others
to be a contemporary artist. The Berlin Catalogue,
however, says that his death in 1650 is recorded in
the Registers, which would establish his separate

VAN DER VLIET, Jan Joris, a Dutch painter
and etcher, was born at Delft about 1610, and was
one of the numerous disciples of Rembrandt. Of
his works as a painter little is known. In the
Berlin Museum a ' Rape of Proserpine,' long
ascribed to him, is now given, on the authority of
Waagen and others, to Rembrandt himself. The
Rotterdam Museum has a portrait of an old man
in Oriental costume by him. The date of his
death is unknown. He has left about ninety
etched plates, most of which are after Rembrandt,
a few after J. Lievens, and some from his own
designs. They produce a striking effect ; the
lights being broad and clear, and the shadows
dark. His drawing, however, is incorrect, and his
draperies clumsy and mannered. He sometimes
signed his plates with his name, and sometimes
used a monogram. The following are his principal
works :

Bust of a Man, with his face in shadow. 1634. After

Bust of au old Man, with a turban and aigrette. Bo,
The Head of a 'Warrior. Do.
An old Man with his hands joined, apparently in grief.

1634. Bo. _
Bust of an Oriental Character, with a fur cap. Bo,
An Old Woman reading. (One of his best prints.) Bo.
Woman laughing. Bo,
Lot and his Daughters ; very fine. Bo,
The Baptism of the Eunuch. Bo,
St. Jerome praying in a cavern, with a book and a

crucifix. (His finest print.) Bo.
Jacob obtaining his Father's Blessing instead of Esau ;

aj'ter Lievens.
Susanna and the Elders. Bo,
The Kesurrection of Lazarus. Bo,

An Assembly of Peasants regaling ; after his own design.
The Rat-catcher. Bo.

A set of twenty-two plates of the Arts and Trades. Bo.
The five Senses. Bo.

VAN DER VLIET, Willem, born at Delft in
1584, painted historical subjects and portraits
somewhat in the dry style of Mierevelt. His
works are rare, and little is known ofLiliis life. He
died in 1642. The National Gallery, the Brussels
Museum, and the Liechtenstein Gallery contain
portraits by him.

VAN DER VOORT, Coenelis, (or Van der
VoBRST,) a, portrait painter of the Dutch school,
was born at Antwerp about 1576. He settled at
Amsterdam, and studied, perhaps, under Cornelius
Ketel. He died at Amsterdam in 1632. In the
Museum of that city there are seven of his works.
His son PiETER was also a painter.

VAN DER VOORT, Miohiel, (or Veevoort,)
an obscure painter and engraver, who flourished
about 1745. His name is affixed to a spirited
etching, representing boys playing with musical


VAN DER WAL, J., an obscure Dutch painter,
born at the Hague in 1728. He became a member
of the Academy at the Hague in 1775, and about
that year settled at Amsterdam. He died in 1788.

VAN DER WAL, Jakob, a Dutch painter, bora
at Haarlem in 1644. He was a pupil of Adriaen
Van Ostade, and was dean of the Guild of S. Luke
in 1688. He died in 1720.

VAN DER WALL, Willem Eotgaart, bom at
Utrecht in 1766, was an excellent painter of land-
scapes and animals ; he also drew the figure with
remarkable correctness. He was the instructor of
Jan Kobel. He was received into the Painters'
Guild in 1795, and died in his native city in 1813

VAN DER WEEFF, Adriaan, was born at
Kralinger-Ambacht, near Rotterdam, in 1659.
Having discovered an early disposition for art, he
was placed under the care of Comelis Picolet, a
portrait painter, under whom he remained two years,
after which he worked under Eglon van der Neer.
When he was seventeen years of age he left Van
der Neer, and established himself at Rotterdam.
He became intimately acquainted with a M. Flink,
who possessed a collection of Italian drawings, to
which he had at all times access, and it was from
these that he formed that coldly correct method
of design which used to be so much admired. In
1696, the Elector Palatine visited Holland, and,
in passing through Rotterdam, was particularly
struck with the works of Van der Werff. He com-
missioned him to paint a ' Judgment of Solomon,'
and his own portrait, for the Grand Duke of
Tuscany, inviting him to bring the two pictures,
when finished, to Diisseldorf. The following year
Van der Werff delivered his pictures, which were
so greatly admired that the painter had to engage
to devote six months in the year to the service of
the Elector, for which he received a liberal pension.
In 1703 Van der Werff was ennobled, and in 1722
he died, at Rotterdam. Van der Werff made some
attempts in modelling ; he was also author of the
plans for the Rotterdam Exchange. List of his
more notable and accessible works :

Amsterdam. Museum.







Nat. Gal.

Nat. Gal.



London. Bulwich Gal.
„ Buckingham Pal,

Munich. Pinakothek,

Paris. Louvre,

Petersburg. Hermitage.

Rotterdam. Museum,

Vienna. Gallery,

Family Group, with his own

Portrait, and those of Wife

and Daughter.
[A.nd seven others)
Pastoral scene.
The Judgment of Paris.
The Dismissal of Hagar.

{And ten others.)
Portrait of au old lady.
A Burgomaster and his wife.
Samson and Delilah.
Two female portraits.
The Flight into Egypt. 1710.
A Portrait.

The Judgment of Paris.
Lot and his daughters.

{And two others,)
Nocturnal Concert.

(And thirty-three others.)
Adam and Eve.

{And six otiters.)
Bathsheba presenting Abishag

to David.
The Entombment.
Male portrait.

VAN DER WERFF, Pieter, the younger brother
of Adriaan van der Werff, was born at Kralinger-
Ambacht in 1665, and was instructed in art by
his brother. He for some time confined himself to
copying the works of the latter ; but he afterwards

Van der "Weyden


Van der Weyden

painted pictures of his own, ocoasionally history,
but more frequently domestic subjects and small
portraits, in which he was much employed. One
of his best pictures is a group portrait of Directors
of the Dutch East India Company. Without
equalling those of his brother in finish, the pictures
of Pieter van der Werfif are highly wrought. He
died at Rotterdam after 1721. The Amsterdam
Museum has five pictures by him, that of Rotter-
dam, six, including his own portrait.

VAN DER WEYDEN, Goswyn, was born at
Brussels in 1465, and was free of the Guild of S.
Luke, at Antwerp, in 1603. He is noted as the
master of numerous apprentices between 1504
and 1513. He is known to have composed a trip-
tych for the church of Tongerloo, representing the
Death, Assumption, and Coronation of the Virgin,
in which he called himself the grandson of Roger,
the Apelles of his age. The triptych was dated


VAN DER WEYDEN, Roger, the younger.
Many pictures are now ascribed to a painter of
this name, who is asserted to have been a grand-
son of Roger Van der Weyden the elder. There
are traces of such a painter in the Antwerp
Guild-book for 1528, but nothing is known of tlie
pictures he may have painted. The National
Gallery catalogue, which puts his name to four
pictures, says he was born at Brussels about 1450,
and died in 1629. The works given to him are
clearly of the most various origin, though some
bear traces of direct affiliation with Roger. Those
in the National Gallery are as follows :

Portraits of himself and wife. (Fine panels, in a style

which seems a development from that of Roger.)
The Magdalen. (School of Tan Bycks.)
Mater Dolorosa. ) "Workshop pictures from Koger the
Boce Homo. j elder's manufactory.

VAN DER WEYDEN, Roger, (Roger of
Bruges, Roger of Brussels, Ruggieko da Brug-
gia. Maestro Rogbl, Roger db la Pasture, &c.),
was bom at Tournai in 1400. He was apprenticed
to an obscure local painter named Robert Campin,
with whom he was at work in 1426. It is probable
that before this he had followed some other trade ;
according to the chronicle of the Carthusians of
Enghien, he was already married when he became
an apprentice. In 1432 he was made ^free of the
Guild at Tournai, and in 1436 we find him painter
in ordinary to the city of Brussels, for in that year
it was resolved, on the 2nd of May, " that after the
death of Master Roger, the office of town-painter
should be suppressed." About this time Roger
painted four pictures for the Hall, of Justice in the
Brussels Town-hall. These have been lost. Their
subjects were : ' The Justice of Trojan,' ' Gregory
the Grejt receiving the head of Trojan,' 'The
Justice of Judge Herkenbald,' ' The Miraculous
Communion of Herkenbald.' Roger's designs are
preserved in a set of tapestries in Berne cathedral.
As early as 1449, Cyriacus noticed Roger as second
only to Jan Van Eyck ; and a few years later
Facio spoke of the same master as Van Eyok's
pupil. This error was copied by Vasari, and by
subsequent writers down to our own time. At
last, however, more careful criticism and increased
industry in the tracing out of facts, have shown
that the two men were at the head of two difierent
art movements, and that while Van Eyck was
gifted with the finer individuality, Roger exercised
a profounder influence on contemporaries and suc-
cessors. The earliest pictures by Roger of which

the approximate dates are known, are those which
compose the triptych from the Charterhouse of
Miraflores, near Burgos, now in the Berlin Museum.
They were given to the Monastery by John II. of
Spain, in 1445, and are described in its books as
" by the great and fiimons Fleming Magistro
Rogel." About this time Roger kept a regular
hottega for all kinds of painter's work at Brussels.
In 1439, Philip the Good ordered some carved work
for the R6oollets church, at Brussels, which Roger
coloured "for the sum of forty ridders of fifty gros
of Flanders." He also painted the arms of the Duke
and Duchess on the doors for six livres. Shortly
before 1450, Roger had finished the great altar-
piece in the hospital of Beaune, a commission from
Rollin, the Chancellor of Burgundy. About the
same time he painted for the Flemish family of
Bracque the triptych now belonging to the Duke
of Westminster. In 1449 Roger visited Italy,
proceeding, perhaps, by way of Milan, to Ferrara;
and thence, perhaps, through Florence, to Rome.
Either in Florence or Rome, which he reached in
1450, he painted for Cosmo de' Medici, ' The
Madonna with SS. Peter, John, Cosmus, and
Damianus,' now at Frankfort. Other pictures he
finished in Italy — a 'Madonna meeting Christ on
the road to Calvary,' which found its way to
Naples ; a ' Woman bathing,' which Facio saw at
Genoa — and yet, on his return to Flanders, he set
himself to carry out the many commissions with
which he was welcomed in exactly the style he
carried away with him. Among his patrons on
his return were Pierre Bladelin, treasurer of the
Golden Fleece and founder of Middelburg in
Flanders, for whom he painted the altar-piece
which has migrated from Middelburg church to
the Berlin Museum ; and Jean Robert, abbot of S.
Aubert of Cambrai, for whom he painted an altar-
piece identical, perhaps, with one in the Madrid
Gallery, but uncatalogued. Van der Weyden never
signed or dated any of his pictures, and so their
authorship and chronological order is generally a
matter of internal evidence. The list of pictures
given below excludes those numerous works
ascribed to him which are unworthy of his
reputation. Roger was married, perhaps about
1424, to Elizabeth Goffaerts, a lady of his own
rank in life. He was of independent means,
having money out at interest at Tournai and in
the "domaine de Brabant." He had four children —
Cornelius ; Margaret, born at Tournai in 1432, died
1450 ; Peter, born at Brussels in 1437 ; John, born
at Brussels in 1438, died 1468. For the last twenty
years of his life Roger owned a house at the corner
of the Montague de la Cour, which remained in his
family down at least to 1511. That he was an
excellent citizen appears from many fragments of
evidence. Lampsonius belauded him. He endowed
the monastery of H^rinnes with four hundred
crowns, and was equally liberal to the Carthusians
of Scheut. In 1462 he was affiliated to the brother-
hood of the Holy Cross, in the church of Cauden-
berg, by Brussels, Van der Weyden died at
Brussels on the 16th June, 1464, and was buried
in the nave of S. Gudule. There, many years
later, his wife was also interred, but she was still
living in 1477.





The Seven Sacraments.

Altar-piece: The Last Judg-

Triptych (Holy Family; Pieta;
Christ appearing to Mary).

Van der Willingen







Florence. Vffizi.

Frankfort. Stddel Inst.

Hague. Museum.

Liverpool. R. Institution.

London. Nat. Gallery.
„ Grosvenor House.


S. Pierre.




From the Charterhouse of
Miraflores, near Burgos.

Triptych (Birth of John the
Baptist ; Baptism of Christ ;
Beheading of John the Bap-

Triptych (the Tiburtine Sibyl ;
Virgin and Child, the donor
adoring; the Star of Beth-

Christ on the Cross, with Mary,
John, and the Magdalen. (?)

The Entombment.

The Virgin enthroned.

? Scenes from the life of John
the Baptist.

The Descent from the Cross.
{? scliool of K. V. d. "W.)

Triptych (the Impenitent
Thief ; the Descent from the
Cross ; the Penitent Thief).

The Entombment (unfinished).

Triptych. The Saviour with the
ball and cross, as Ruler of the
"World; theVirgin with John
the Baptist ; S. John the
Evangelist with the Magdalen.

The Descent from the Cross.

("Which of these three should
be considered the original is
matter of dispute. The
example at Louvain is
smaller than the others.)

A Crucifixion, with the seven
sacraments. (From the Mon-
astery of Los Angeles, Ma-
drid ; not in the catalogue.
See G. F. "Waagen's 'Ueber
iu Spanien vorhandene Bil-
der,' in the ' Jahrbiicher f iir
Kunstwissenschaf t' for 1868.)

The Crucifixion. (?)

The Marriage of the Virgin. (?)

S. Luke painting the Virgin.

Triptych (Adoration of the
Magi ; the Annunciation ; the
Presentation in the Temple).

The Virgin and Child. (?) The
picture in the Casa Vendra-
mini, mentioned by the

Triptych (The Crucifixion ; S.
Veronica ; the Magdalen).

S. Catharine. (?) "W.A.

VAN DER WILLINGEN, Pieter, was born at
Bergen-op-Zoom about 1607. He painted still-life,
gold and silver vases, books, and musical instru-
ments, "which are highly finished, and produce a
truthful effect. He practised at Ant-werp, and died
in 1694. His brother and pupil, Jan, also worked
at Antwerp, and died there in 1693.

VAN DER WILT, Thomas, a Dutch painter
and mezzotint engraver, was born at Piershil
in 1659. He was a pupil of Jan Verkolje, and
painted portraits and genre subjects in the style of
Poelenburg. He exercised his profession at Delft,

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 165 of 201)