David Teniers II

Antwerpen / Anvers - De Keyserlei, Teniersplaats, Leysstraat, Frankrijklei, Operaplein (2019)

- Video-impressie van een wandeling vanaf station Antwerpen-Centraal naar de Meir met o.a. De Keyserlei met de Antwerp Tower in renovatie, Frankrijklei, Teniersplaats met standbeeld van de Vlaamse barokschilder David Teniers II, sloopwerkzaamheden aan het Teniersbuilding, Leysstraat met standbeeld van de Vlaamse barokschilder Antoon van Dyck, straatmuzikanten bij modehuis Zara, Operaplein met gebouw van Opera Ballet Vlaanderen en de Rooseveltplaats, woensdag 10 juli 2019.

- Impression vidéo d'une promenade depuis la gare d'Anvers-Central jusqu'à La Meir avec des images de la De Keyserlei avec l'immeuble Antwerp Tower en rénovation, la Frankrijklei, la place Teniers avec la statue du peintre baroque flamand David Teniers II, des travaux de démolition du bâtiment Teniers, la rue Leys avec la statue du peintre baroque flamand Antoon van Dyck, des musiciens de rue devant le magasin de Zara, la place de l'Opéra avec le bâtiment de l'Opéra Ballet de Flandre et la place Roosevelt, mercredi 10 juillet 2019.

David Teniers, the Younger Flemish Painter

David Teniers, the Younger
Flamish Painter
vid Teniers, the Younger, (baptized Dec. 15, 1610, Antwerp—died April 25, 1690, Brussels) prolific Flemish painter of the Baroque period known for his genre scenes of peasant life.
He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Bruegel the Elder. Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Peasants Playing Music). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the archduke’s picture gallery (e.g., The Archduke Leopold William in His Picture Gallery in Brussels, c. 1651; Kunsthistoriches Museum, Vienna). He also made many small-scale individual copies of paintings in the archduke’s collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian. Teniers was also court painter to Don John of Austria, who succeeded the archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers’s son, also named David (1638–85), often imitated his father’s work. There are several of his altarpieces in churches in Belgium.
大衛Teniers，年輕人
油畫
vid Teniers，年輕人，（1610年12月15日，安特衛普死於1690年4月25日，布魯塞爾）多產的巴洛克時期的弗萊芒畫家，他的農民生活的類型場景。
他是大天使長輩的兒子和學生。在1637年，他娶了畫家楊·布魯格爾長老的女兒安娜。 Teniers畫幾乎每一種畫面，但主要是農民生活的流派場景，其中許多隨後在18世紀被用於掛毯設計。他早期的作品展示了Adriaen Brouwer（例如，農民演奏音樂）的影響。他的許多精美作品的時間從1640年到1650年。他在處理一個開放的景觀的人群場景，並善於用溫暖，人性和經常幽默的觸摸（例如，村莊Fête，1646）表徵他的數字輝煌。他的景觀設置是大氣，他的靜物的細節精確。在同一個十年，他還畫了一些巨大的遊行（例如，安特衛普公民衛隊遊行，1643年）。
Teniers在1651年開發了第二個職業生涯，當他搬到布魯塞爾，成為宮廷畫家和藝術收藏品的守護者荷蘭攝政，利奧波德威廉。他畫了大公圖片庫的幾個視圖（例如，布魯塞爾的畫廊布魯塞爾的大公利奧波德·威廉姆斯，1651年;維也納的藝術史博物館）。他還在外國藝術家，特別是意大利人的大公館收藏中製作了許多小型的個人繪畫作品。其中，244幅雕刻於1660年的題為Theatrum Pictorium。作為一個偉大的17世紀收藏的圖畫庫存，這本雕刻板在它的時間是獨特的，仍然是藝術史學家的一個有價值的來源。 Teniers還是奧地利的唐·約翰（Don John）的畫家，後者在1656年繼任大公，成為布魯塞爾美術學院（1663年）和隨後在安特衛普（1665年）的學院的原動力之一。 Teniers的兒子，也叫David（1638-85），經常模仿他父親的工作。他的幾個祭壇在比利時的教堂。

David Teniers the Younger 大衛·特尼爾·仰格爾 (1610-1690) Baroque Flemish

tonykwk39@gmail.com
David Teniers, the Younger, (baptized Dec. 15, 1610, Antwerp—died April 25, 1690, Brussels), prolific Flemish painter of the Baroque period known for his genre scenes of peasant life.
He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Bruegel the Elder. Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Peasants Playing Music). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the archduke’s picture gallery (e.g., The Archduke Leopold William in His Picture Gallery in Brussels, c. 1651; Kunsthistoriches Museum, Vienna). He also made many small-scale individual copies of paintings in the archduke’s collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian. Teniers was also court painter to Don John of Austria, who succeeded the archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers’s son, also named David (1638–85), often imitated his father’s work. There are several of his altarpieces in churches in Belgium.
大衛·特尼爾·仰格爾 （1610年12月15日，安特衛普，1690年4月25日，布魯塞爾去世），大衛·泰尼爾（David Teniers），以其農民生活場景而聞名的巴洛克時期多產佛蘭芒畫家。
他是大衛·維尼爾（David Teniers）長子的兒子和學生。在1637年，他結婚了安娜，畫家揚·布魯格爾長老的女兒。導演幾乎畫出各種各樣的畫面，但主要是農民生活的風格，其中許多場景隨後被用於18世紀的掛毯設計。他的早期著作顯示了Adriaen Brouwer（如農民演奏音樂）的影響力。他的許多精美的作品始於1640年至1650年。他在開放的景觀中處理人群場景，擅長以溫暖，人性和幽默的方式描繪他的人物（例如，1646年的“村莊Fête”）。他的景觀設置是大氣的，他的靜物細節精確。在同一個十年，他還畫了一些巨大的遊行（例如，安特衛普公民衛隊遊行，1643年）。
在1651年，當他搬到布魯塞爾時，他們開始了第二個職業生涯，成為法庭畫家，並將荷蘭攝政大師利奧波德·威廉（Leopold William）的攝影師收藏在藝術館。他畫了大衛圖片畫廊的幾個意見（例如布魯塞爾的他的畫廊裡的利奧波德大帝，1651年，維也納藝術史博物館）。他還在外國藝術家，特別是意大利人的大公集合中製作了許多小型個人作品。其中244個刻在1660年，題目是Theatrum Pictorium。作為一幅偉大的17世紀收藏品的圖畫庫存，這本雕刻書在時間上是獨一無二的，仍然是藝術史學家的寶貴資源。政治家也是奧地利的唐·約翰的法庭畫家，他於1656年繼承了大衛作為攝政，並且是布魯塞爾美術學院（1663年）和安特衛普學院（1665年）的基礎之一。也稱為大衛（1638年至85年）的維多利亞的兒子經常模仿父親的工作。他在比利時的教堂裡有幾個祭壇。

Jewish street musician in Antwerpen (Belgium)

Dieser Straßenmusikant spielt ein seltsames Streichinstrument, das aber einen Tubus wie eine Trompete hat. Der Sound ist sehr fremdartig, klingt recht orientalisch. Aufgenommen wurde dieser Kerl in der Nähe von Antwerpens prominentester Fußgängerzone, einer Straße mit Namen Meir. Unweit von der Stelle steht das Denkmal des flämischen Malers David Teniers.

Willem Ceuleers / Jan II Mommaert - Hebdy niet gehoort - (by Ensemble Cannamella)

Hebdy niet gehoort, lieven Teunis is a Dutch song from the song book Het Brabandts nachtegaelken (The Brabant nightingale), with lyrics written and printed by poet and printer Jan II Mommaert in Brussels in 1654 (pp. 194-198). The 1654 edition of a song book that had already been printed in the 1630s was published at the occasion of the visit of Queen Christina of Sweden to Brussels in the same year, and music notes and 29 new songs were added. The song is about a marriage of peasants, Meintje and Jan. The lyrics are written from the point of view of an outsider looking down in an amused way on the uncivilised, licentious and noisy behaviour of the peasants. The lyrics and the melody of this Dutch song are from the above-mentioned Brussels source. The historically informed reconstruction of the song, by means of an arrangement for several voices in the baroque style by contemporary Flemish composer Willem Ceuleers, is inspired by the fact that a 17th century composer, Philippus van Steelant, already made a setting for four voices, published in Antwerp in 1663 as part of a collection of Dutch songs entitled Vermaeckelycke Duytsche liedekens met 3, 4, 5 stemmen (Diverting songs for 3, 4 or 5 voices). Though incompletely, the parts of the setting are preserved in the City Library of Oudenaarde. The paintings selected are made by masters linked to at least one of the cities in which the lyrics were composed or printed, or in which an important source of the lyrics is kept in a library, in else: Brussels, Antwerp and Oudenaarde. All paintings are in one way or the other linked to the world in which the song originated. Brussels is the city in which the song originated (View of Brussels by Bonnecroy). The poets who made this kind of songs gathered in the chambers of rhetoricians (The Gathering of Rhetoricians by Van Craesbeeck). Music making in a Flemish bourgeois environment of those days, as were the chambers of rhetoricians, is illustrated by the painting of Jacob van Oost, who probably represented his own family making music. The subject of the song, a marriage of peasants, is illustrated by the paintings of David Teniers, which represent peasants feasting. The paintings of Brouwer show the quarrels which were thought to result from such activities spent in such company.

Dutch lyrics of the first five stanzas

1. Hebdy niet gehoort, lieven Teunis,
Van Myntjens Bruyloft-feest,
Hoe dat Tan Alle-man,, met haren lieven Jan
Was vrolyck om het meest:
Heyntjen den baes,, en kreupelen Niel
En schemelen Claes,, en scheeven Michiel,
Die schoncken,, en droncken, En songhen,,
En klonghen om het meest,
Was dat niet een Bruyloft-feest. (bis).

2. Hebdy eens ghesien al de wyven,
Die hadden 't daer soo breedt,
Dat sy mans,, wel bykans,, beschaemden
Door den dans,
Was dat niet fraey bescheedt?
Meyntjen de Bruyt,, en Beyken Was-kranck,
En Lincken Lap-uyt,, en Lysken de manck,
Die riepen,, en liepen
Couranten,, servanten om het meest,
Was dat niet een Bruyloft-feest? (bis)

3. Job Licht-voet, en Hennen in 't Wambas,
Sprongh over Stoel en banck;
Maer Cousyn,, Severyn,,
Die ded' het alsoo fyn,
Dat hy oock t'samen sanck,
Magheren Lauw,, en kalen Matthys,
En Seppen den Blauw,, en simpelen Gys,
Die draeyden,, en kraeyden
Almande,, Pavande om het meest,
Was dat niet een Bruyloft-feest? (bis)

4. Daniel de Vos met syn Mutsken,
En Abr'am Doncker-vliedt,
Had een pack,, met toeback,,
ghesteken in den sack;
Maer Lys en wist dat niet,
Scheel Jackemyn,, en Claerken Petiet,
En Langhe Pieryn,, en Lossche Magriet,
Die heyghden,, en neyghden,
En lachten,, en schachten om het meest,
Was dat niet een Bruyloft-feest? (bis)

5. Onder al dees Draeyers en Danssers,
Was Slinger-been Passchier,
Die wou ras,, met 't ghelas,,
gaen danssen slincke-pas,
Maer viel met glas vol bier;
Sy riepen al Jau,,
en trocken wel styf,
En scheurden syn mauw,, en vielen op 't lyf,
Daer wroetten,, de voeten,
En rolden,, en bolden om het meest,
Was dat niet een Bruyloft-feest? (bis)

Paintings:

00:00 ''The Gathering of Rhetoricians'' (Royal Museums of Fine Arts, Brussels/Belgium), by Joos van Craesbeeck (Neerlinter / Linter 1605 or 1608 - Brussels before 1662)
00:50 ''Company Making Music '' (1667, Royal Museums of Fine Arts, Brussels/Belgium), by Jacob van Oost the Elder (Bruges, ca. 1603 - 1671)
01:27 ''Feast in a Village'' (1648, Staatliche Kunsthalle, Karlsruhe/Germany), by David Teniers the Younger (Antwerp, 1610 - Brussels, 1690)
02:05 ''Peasants Merrymaking'' (ca. 1650, Museum del Prado, Madrid/Spain), David Teniers the Younger
02:38 ''Tavern Scene'' (ca. 1635, National Gallery, London/United Kingdom of Great-Britain and Northern Ireland), by Adriaen Brouwer (Oudenaarde, 1605 - Antwerp?, 1638)
03:11 ''Peasants Fighting'', by Adriaen Brouwer
03:45 ''View of Brussels'' (Royal Museums of Fine Arts, Brussels/Belgium), by Jan-Baptist Bonnecroy (Antwerp, 1618 - Brussels, 1676)

David Teniers the Younger and his paintings

David Teniers the Younger was a Flemish artist born in Antwerp, the son of David Teniers the Elder. His son David Teniers III and his grandson David Teniers IV were also painters. His wife Anna, née Anna Breughel, was the daughter of Jan Brueghel the Elder and the granddaughter of Pieter Bruegel the Elder.
Through his father, he was indirectly influenced by Elsheimer and by Rubens. The influence of Adriaen Brouwer can be traced to the outset of his career. There is no evidence, however, that either Rubens or Brouwer interfered in any way with Teniers's education, and Smith (Catalogue Raisonné) may be correct in supposing that the admiration which Brouwer's pictures at one time excited alone suggested to the younger artist his imitation of them. The only trace of personal relations having existed between Teniers and Rubens is the fact that the ward of the latter, Anne Breughel, the daughter of Jan (Velvet) Breughel, married Teniers in 1637.
Admitted as a master in the Guild of St Luke in 1632, Teniers had even before this made the public acquainted with his works. The Berlin Museum possesses a group of ladies and gentlemen dated 1630. No special signature positively distinguishes these first productions from those of his father, and we do not think it correct to admit with some writers that he first painted religious subjects. Dr. Bode, in a study of Brouwer and his works, expresses the opinion that Teniers's earliest pictures are those found under the signature Tenier. Tenier is a Flemish version of a thoroughly Walloon name, Taisnier which the painter's grandfather, a mercer, brought with him when he came from Ath in 1558; and Dr. Bode's supposition is greatly strengthened by the circumstance that not only David the elder but his brother Abraham and his four sons were all inscribed as Tenier in the ledgers of the Antwerp guild of St Luke.

David Teniers the Elder

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David Teniers the Elder , Flemish painter, was born at Antwerp.

---Image-Copyright-and-Permission---
About the author(s): Pieter van Mol (1599–1650) Alternative names Pieter van Mol Description Flemish painter, draughtsman, ornamental painter and court painter Date of birth/death 7 November 1599 (baptised) 8 April 1650 Location of birth/death Antwerp Paris Work period from 1611 until 1650 Work location Antwerp (1611-1623), Paris (1631-1650) Authority control VIAF: 37186958 ISNI: 0000 0000 6631 1910 ULAN: 500017956 GND: 122257839 BNF: 14959984t
License: Public domain
Author(s): Pieter van Mol (
---Image-Copyright-and-Permission---

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Antwerpen. 10 points of interests in 4 minutes

Short review of 10 interesting point in one of most beautiful city of Belgium.
1. Central Station
2. Statue of David Teniers
3. Green Square
4. Cathedral of Antwerp Our Lady
5. Antwerp Town Hall
6. Het Steen
7. Calvarietuin
8. The MAS. Museum aan de Stroom
9. Statue of Peter the Great
10. Botanical Garden
Антверпен. 10 интересных мест за 4 минуты.
1. Центральный вокзал.
2. Памятник David Teniers
3. Памятник Петру Великому (Пётр I)
4. Зелёная полщадь
5. Собор Антверпенской Богоматери
6. Каменный замок
7. Calvarietuin
8. Морской музей
9. Ратуша Антверпена
10. Ботанический сад

Music: Happiness - Bensound.com

GoPro: Roadtrip Holland x Belgium (2015) | Hero 4 Black | 1080p Full HD

The Netherlands & Belgium
October 2015

- Antwerp -
- Limburg -
- Vaals -
- Drielandenpunt -

Sjoerd Arkesteijn | Sanne Amsterdam | Cindy Arkesteijn | Jan Arkesteijn | Linda Arkesteijn | Rene Bratvogel

Music: FDVM feat. Josh Wantie - Brightest Light (Original Mix)

-----------------------------------------------------------------------------------------------------------
00:08 Statue of Brabo and the giant's hand | Brabo Fontijn
00:12 Antwerp City Hall | Stadhuis
00:18 Big Market Square | Grote Markt
00:37 Cathedral of Our Lady | Onze Lieve Vrouwe Kathedraal
01:03 David Teniers Statue | David Teniers Monument
01:07 Central Station | Centraal Station
01:23 Belgian Waffles | Belgische Wafels
02:08 Tripoint Holland, Belgium, Germany (Vaals) | Drielandenpunt
03:05 Vaals, Limburg

blowUP media (BE), David Yarrow, Antwerp - The Full Museum

David Yarrow has built an unrivaled reputation by capturing the beauty of remote landscapes, cultures and endangered species. After two years, the world's best selling wildlife photographer returns to Belgium to exhibit his latest works at Leonhard's Gallery.

This video shows the reveal of the grand canvas at blowUP media site 'The Full Museum' at the Leopold de Waelplaats in Antwerp, for the David Yarrow It’s Five O’Clock Somewhere Exhibition.

Photographer:
Leonhard's Gallery:
Visuals by MLK Agency
Campaign design by Nightingale

Frans Snijders

Frans Snyders or Snijders [1579 -- 1657] was a Flemish painter of animals and still life. Snyders was born and died at Antwerp. He is recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently received instruction from Hendrick van Balen, the first master of Van Dyck. He was a friend of Van Dyck who painted Snyders and his wife more than once [Frick Collection, Kassel etc.].
He became a master of the Antwerp painters guild in 1602. He visited Italy in 1608-9, visiting Rome, and working for Cardinal Borromeo in Milan. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos [another animal painter], in Antwerp. Jan Fyt was a student, and then assistant of his from 1629. Snyders initially devoted himself to painting flowers, fruit and subjects of still life, but later turned to painting animals, and executed with the greatest skill and spirit hunting pieces and combats of wild animals. He was one of the earliest specialist animaliers. His composition is rich and varied, his drawing correct and vigorous, his touch bold and thoroughly expressive of the different textures of furs and skins. His excellence in this department excited the admiration of Rubens, who frequently employed him to paint animals, fruit and still life in his own pictures, and he assisted Jacob Jordaens, Thomas Willeboirts Bosschaert and other artists in a similar manner. In the lion and boar hunts which bear the name of Snyders the hand of Rubens sometimes appears. He was one of the executors of Rubens's will. He was appointed principal painter to the Archduke Albert of Austria, governor of the Low Countries, for whom he executed some of his finest works. One of these, a Stag-Hunt was presented to Philip III of Spain, who together with his successor Philip IV of Spain, commissioned the artist to paint several subjects of the chase, which are still preserved in Spain. He also worked for Archduke Leopold Wilhelm of Austria, when he became Governor.

Het Gulden Cabinet. Deel 4: De Kunstkamer van Frans Francken II

Sinds februari 2013 toont 'Het Gulden Cabinet. Koninklijk Museum bij Rockox te gast' hoe een kunstverzameling er in de Gouden Eeuw moet hebben uitgezien. De burgerwoning van burgemeester en mecenas Nicolaas Rockox (1560 - 1640) werd speciaal voor deze expo omgetoverd tot een luxueus kunstenkabinet met topstukken uit de collectie van het Koninklijk Museum voor Schone Kunsten Antwerpen en de belangrijkste werken uit Museum Rockoxhuis. Het KMSKA liet de opbouw van deze unieke tentoonstelling vastleggen voor een documentairefilm die je in de tentoonstelling kan bekijken. In die film geven curatoren Hildegard Van de Velde (Museum Rockoxhuis) en Nico Van Hout (KMSKA) meer uitleg over Nicolaas Rockox, het verzamelwezen in de Nederlanden, de titel 'Het Gulden Cabinet' en het schilderij 'De kunstkamer' van Frans Francken II. Deze zomer delen we de film op in korte afleveringen die we op gezette tijdstippen zullen publiceren. In dit laatste filmpje gaat curatore Nico Van Hout dieper in op De Kunstkamer van Frans Francken II die je in de tentoonstelling kan bewonderen.

Reportage: Deep Focus (productie), Guido Verelst (regie/montage), Joris Ceuppens (camera) & Cyril Orcel (muziek)

Bekijk ook zeker de webapp bij de tentoonstelling waarmee je zelf een verzameling kan uitbouwen: hetguldencabinet.be

Meer info: kmska.be & rockoxhuis.be

Antwerp & Amazing - The Second Most Populous City Part I

Antwerp & Amazing - The Second Most Populous City Part I - Antwerp (Listeni/ˈæntwɜrp/, Dutch: Antwerpen [ˈɑn̪t̪.β̞ɛr.pə(n̪)] ( listen), French: Anvers [ɑ̃ˈvɛʁ(s)], Spanish: Amberes) is a city and municipality in Belgium and the capital of the Antwerp province of Belgium. Antwerp's population is 510,610 (as of 1 January 2014),[2] making it the second most populous city in Belgium, after the capital Brussels. Antwerp's total area is 204.51 km2 (78.96 sq mi), giving a population density of 2,308 inhabitants per km². The metropolitan area, including the outer commuter zone, covers an area of 1,449 km2 (559 sq mi) with a total of 1,190,769 inhabitants as of 1 January 2008.

According to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend involving a mythical giant called Antigoon who lived near the Scheldt river. He exacted a toll from those crossing the river, and for those who refused, he severed one of their hands and threw it into the river. Eventually, the giant was slain by a young hero named Brabo, who cut off the giant's own hand and flung it into the river.

According to the American Association of Port Authorities (AAPA), the port of Antwerp was the seventeenth largest (by tonnage) port in the world in 2005 and second only to Rotterdam in Europe. Importantly it handles high volumes of economically attractive general and project cargo, as well as bulk cargo. Antwerp's docklands, with five oil refineries, are home to a massive concentration of petrochemical industries, second only to the petrochemical cluster in Houston, Texas. Electricity generation is also an important activity, with four nuclear power plants at Doel, a conventional power station in Kallo, as well as several smaller combined cycle plants.

Antwerp had an artistic reputation in the 17th century, based on its school of painting, which included Rubens, Van Dyck, Jordaens, the two Teniers and many others.

Antwerp has a university and several colleges. The University of Antwerp (Universiteit Antwerpen) was established in 2003, following the merger of the RUCA, UFSIA and UIA institutes. Their roots go back to 1852. The University has approximately 13,000 registered students, making it the third-largest university in Flanders, as well as 1,800 foreign students. It has 7 faculties, and is located of four campus locations in the city centre and in the south of the city. Education is organized on bachelor, masters, and post-graduate level.

More Info:

Antwerp01: Maribelle71

Antwerp02: Tatiana Vdb

Antwerp03: Alan Stanton

Antwerp04: Loz Pycock

Antwerp05: R/DV/RS

LIPÓT A BRÜSSZELI KÉPTÁRÁBAN - mini tárlatnézés Tátrai Júliával, a Rubens kiállítás kurátorával

Ifj. David Teniers | Antwerpen, 1610 – Brüsszel, 1690
Lipót Vilmos főherceg a brüsszeli képtárában
1650–1651 körül
Olaj, vászon; 124 × 165 cm
Bécs, Kunsthistorisches Museum, Gemäldegalerie

Tátrai Júliát, a Szépművészeti Múzeum Rubens, Van Dyck és a flamand festészet fénykora tárlat kurátorát arra kértük, hogy meséljen pár percben azokról a kiállításon látható alkotásokról, amelyek számára a legizgalmasabbak, legmegragadóbbak.

A kiállítás legfőbb célkitűzése a saját és a kölcsönzött művek révén bemutatni Peter Paul Rubens művészetének kiemelkedő kvalitását és az egész korszakra gyakorolt meghatározó, rendkívül erős hatását, valamint az ebből és emellett kibontakozott sokrétű, stilárisan és tematikailag egyaránt gazdag 17. század flamand festészetet.

A 120 művet bemutató tárlatra negyven nagy közgyűjteményből, többek között a Louvre-ból, az Ermitázsból, a Pradóból, a washingtoni és a londoni National Galleryből érkeznek műtárgyak. A kiállításon Rubens mintegy harminc és Van Dyck több mint egy tucat remekműve mellett más flamand mesterek kiváló alkotásait is megtekinthetik a látogatók.

A neves külföldi és hazai művészettörténészek közreműködésével készült, gazdagon illusztrált, kiállítási katalógus két nyelven elérhető.

A kiállítás kurátora Tátrai Júlia művészettörténész, a Régi Képtár vezetője.

Online jegyvásárlás és továbbiak a kiállításról:

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VIDEÓ:
Szerkesztő / riporter: Kund Laura
Operatőr / vágó: Dorcsák Gábor

Frans Snyders : A collection of 90 Paintings (HD) [Baroque]

Frans Snyders : A collection of 90 Paintings (HD) [Baroque]

#Frans_Snyders (Snijders)
- Born: November 11, 1579; Antwerp, Belgium
- Died: August 19, 1657; Antwerp, Belgium
- Active Years: 1600 - 1657
- Nationality: Flemish
- Art Movement: #Baroque
- Painting School: Flemish School
- Genre: animal painting, still life
- Field: #painting
- Teachers: Peter Paul Rubens
Wikipedia: en.wikipedia.org/wiki/Frans_Snyders
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Frans Snyders or Frans Snijders (11 November 1579, Antwerp – 19 August 1657, Antwerp) was a Flemish painter of animals, hunting scenes, market scenes and still lifes. He was one of the earliest specialist animaliers and he is credited with initiating a wide variety of new still-life and animal subjects in Antwerp. He was a regular collaborator with leading Antwerp painters such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens.

Snyders was born in Antwerp as the son of Jan Snijders, the keeper of a wine inn frequented by artists. According to legend the famous 16th-century painter Frans Floris squandered his fortune in the inn. Snyders' mother was Maria Gijsbrechts. Snyders had five siblings. His brother Michiel also became a painter but no works of him are known.

Snyders was recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently trained with Hendrick van Balen, who was the first master of Anthony van Dyck. Snyders became a master of the Antwerp Guild of Saint Luke in 1602. He travelled to Italy in 1608-9 where he first resided in Rome.[3] The artist subsequently traveled from Rome to Milan. Jan Brueghel the Elder had introduced him there by letter to the famous art collector Cardinal Borromeo.[4] Brueghel asked Snyders to paint a copy after a portrait by Titian in the Borromeo collection. This is regarded as evidence that Snyders was a skilled figure painter before he turned his attention to still life painting.

Snyders had returned to Antwerp in the spring of 1609. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos, two leading painters in Antwerp. His collaboration with Rubens started in the 1610s.

Snyders had many patrons including the Ghent Bishop Antonius Triest who commissioned four paintings of market scenes around 1615 (Hermitage Museum, Saint Petersburg). He was a friend of van Dyck who painted Snyders and his wife more than once (Frick Collection, Kassel etc.). Snyders was commercially successful and was able to purchase a house on the high-end Keizerstraat in Antwerp. In 1628 he became the dean of the Guild of Saint Luke.
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Check out My work here
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#BAROQUE [Post Renaissance Art] :

#Northern_Renaissance [RENAISSANCE ART] :

#Mannerism (Late Renaissance) [RENAISSANCE ART] :

#HIGH_RENAISSANCE [Renaissance Art]:

#EARLY_RENAISSANCE [RENAISSANCE ARTS] :
#PROTO_RENAISSANCE [Renaissance Art] :

#Medieval_Art :

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HISTORICAL PLACES OF BELGIUM IN GOOGLE EARTH PART FOUR ( 4/5 )

1. CASTLE OF BELOEIL 50°33'3.09N 3°43'49.46E
2. CHURCH OF OUR LADY,ANTWERP 51°12'59.58N 4°26'3.06E
3. MONUMENT,CHARLEROI 50°24'49.03N 4°26'36.95E
4. KASTEEL TER LEYEN,ASSENEDE 51°15'24.71N 3°43'6.68E
5. ST.PETER'S CHURCH,NINOVE 50°49'29.29N 4° 2'25.82E
6. CATHEDRAL,ANTWERP 51°13'13.08N 4°24'3.98E
7. MOSQUE OF BRUSSELS 50°50'36.63N 4°23'16.56E
8. CASTLE OF CHIMAY 50° 2'55.57N 4°18'45.13E
9. DULLE GRIET,GHENT 51° 3'26.28N 3°43'26.81E
10. HEART POOL 50°50'7.80N 4°25'28.21E
11. ROYAL MUSEUM FINE ARTS,ANTWERP 51°12'30.30N 4°23'40.99E
12. CATHEDRAL OF ST.MICHAEL & ST.GUDULA,BRUXELLES 50°50'51.93N 4°21'35.23E
13. HOF VAN MERTENS (KASTEEL DE GULDEN POORT), EKEREN 51°16'36.35N 4°25'9.46E
14. KOEPOORT,NINOVE 50°50'11.05N 4° 1'32.77E
15. STATUE OF DAVID TENIERS,ANTWERP 51°13'5.18N 4°24'52.98E
16. PASTUR CASTLE,JODOIGNE 50°43'27.57N 4°52'0.75E
17. O.L.K.CHURCH,BRUGES 51°12'16.91N 3°13'27.92E
18. ROCK BAYARD DINANT 50°14'40.60N 4°55'19.58E
19. FORT LILLO,ANTWERP 51°18'15.81N 4°17'26.05E
20. BASILIQUE ST.CHRISTOPHE,CHARLEROI 50°24'42.80N 4°26'43.32E
21. ST.NICHOLAS CHURCH,GHENT 51° 3'14.02N 3°43'22.35E
22. LIBRARY,LEUVEN 50°52'40.93N 4°42'26.45E
23. ST.STEFANUS CHURCH,HINGENE 51° 6'12.95N 4°16'9.15E
24. ROYAL PALACE,BRUSSEL 50°50'30.65N 4°21'44.30E
25. CATHEDRAL,TOURNAI 50°36'23.41N 3°23'20.09E
26. CASTLE OF BEERSEL 50°45'56.33N 4°17'59.91E

Beļģija. Nīderlande. (4. video no 9) 198. Antverpene.

Antverpene (Antwerpen) ir pilsēta Beļģijas ziemeļos Šeldas upes grīvā, Flandrijā.
Otra lielākā Beļģijas pilsēta. Antverpenes osta ir lielākā osta pasaulē, un tā spēj apkalpot pat līdz 200 kuģiem dienā. Antverpene ir provinces centrs.


Grote Markt laukums Antverpenes vecpilsētā
Slavena kā pasaules dimantu tirdzniecības centrs, kurš tradicionāli ir dažu hasīdu ebreju ģimeņu rokās.
Antverpenē atrodas viens no vecākajiem un slavenākajiem zoodārziem pasaulē.
Kopš XX gs. 90-ajiem gadiem Antverpene ir slavena kā modes dizaina centrs (skat. Antverpenes sešinieks).
Slavenākā Antverpenes baznīca ir Onze-Lieve-Vrouwekathedraal, kurā atrodami Rubensa darbi. Antverpene ir cieši saistīta ar šī ievērojamā flāmu gleznotāja dzīvi.
Vēsture [izmainīt šo sadaļu]

Pirmoreiz pieminēta IV gs. kā vieta Germānijā. XI gs. Pirmā Krusta kara vadonis Godfreijs de Buljons (Godefroy de Bouillon) pieminēts kā Antverpenes marķīzs.
Tomēr Antverpenes strauja attīstība sākās XV gs. beigās, kad Brige zaudēja savu nozīmību. Osta strauji auga un 1560.gadā Antverpene kļuva par otro lielāko Eiropas pilsētu uz ziemeļiem no Alpiem. Dažādos laikos ostas galvenās preces bija garšvielas, sudrabs, tekstils.
1566.gadā Antverpenē sākās reformācija, kura izvērtās svētbilžu grautiņos, un Antverpene kļuva par Nīderlandes revolūcijas centru. 1576. gada 4.novembrī spāņu karaspēks ieņem Antverpeni un nogalina 6000 iedzīvotāju. 1585.gadā no pilsētas tiek padzīti visi protestantu iedzīvotaji, un Amsterdama Antverpenes vietā pamazām sāk kļūt par svarīgāko tirdzniecības centru.
Kad izveidojas Nīderlande, Antverpenes nozīme pamazām samazinās, jo Šeldas upes estuārs nokļūst Nīderlandē, kurai jāmaksā muita. Samazinās arī pilsētas iedzīvotāju skaits (vismazākais tas ir ap 1800.gadu - zem 40 000).
1830.gadā, Beļģijas revolūcijas laikā, Antverpeni sagrābj beļģu nemiernieki, bet pilsētas citadele paliek nīderlandiešu garnizona rokās. Citadele kapitulē tikai 1832.gadā, līdz tam periodiski bombardējot pilsētu, un nodarot tai postījumus.
1.pasaules kara laikā Antverpeni pēc smagām cīņām ieņem vācu armija, piespiežot beļģu armiju atiet uz rietumiem.
1920.gadā Antverpenē notiek Vasaras Olimpiskās spēles.
2.pasaules kara laikā pilsētu okupē vācu karaspēks. 1944.gada 4.septembrī to ieņem angļu karaspēks. Vācieši, cenšoties iznīcināt svarīgo Antverpenes ostu, smagi bombardē to ar V-2 raķetēm.
Antverpenē dzimuši cilvēki [izmainīt šo sadaļu]

Antons van Deiks (Antoon Van Dyck) (1599—1641) - gleznotājs
Vilems Elshots (Willem Elsschot) (1882-1960) - flāmu dzejnieks
Jakobs Jordānss (Jacob Jordaens) (1593-1678) - gleznotājs
Franss Halss (Frans Hals) - (1580/1585-1666) - gleznotājs
Pīters Klāss (Pieter Claesz) - (1596/1597-1661) - gleznotājs
Henriks Konsians (Hendrik Conscience) (1812-1883) - flāmu rakstnieks
Pauls de Mans (Paul de Man) (1919—1983) - literatūrkritiķis
Abrahams Ortēlijs (Abraham Ortelius) (1527-1598) - kartogrāfs
Pauls van Ostājens (Paul van Ostaijen) (1896-1928) - flāmu dzejnieks
Dāvids Tenīrs Jaunākais (David Teniers de Jonge) (1610-1690) - gleznotājs
Henrijs van de Velde (Henry Van de Velde) (1863—1957) - arhitekts

Brussels and Antwerpen spring 2019

Trip to Belgium spring 2019
Music: Detektivbyran - Camping
Camera: Fujifilm X-T3

Adriaen Brouwer (1605-1638) A collection of paintings 4K Ultra HD Silent Slideshow

Adriaen Brouwer (1605-1638) A collection of paintings 4K Ultra HD Silent Slideshow

A Flemish painter active in Flanders and the Dutch Republic in the first half of the 17th century.

Brouwer was an important innovator of genre painting through his vivid depictions of peasants, soldiers and other 'lower class' individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings.

Brouwer contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters

Thgere are still a number of unresolved questions surrounding the early life and career of Adriaen Brouwer. The early Dutch biographer Arnold Houbraken included multiple erroneous statements and fanciful stories about Brouwer in his The Great Theatre of Dutch Painters of 1718-1719. The most glaring mistakes of Houbraken were to place Brouwer's place of birth in Haarlem in the Dutch Republic and to identify Frans Hals as his master

It is now generally accepted that Brouwer was born in Oudenaarde in Flanders in the year 1605 or 1606. His father who was also called Adriaen worked as a tapestry designer in Oudenaarde, at the time an important center for tapestry production in Flanders. The father died in poverty when Adriaen the younger was only 15–16 years old. Brouwer had by that time already left the paternal home.

Brouwer worked in Antwerp in 1622. By March 1625 Adriaen Brouwer was recorded in Amsterdam where he resided in the inn of the painter Barend van Someren, another Flemish artist who had taken up residence in the Dutch Republic. Brouwer is further recorded on 23 July 1626 as a notary's witness when he signed a statement of Barend van Someren and Adriaen van Nieulandt about a sale of pictures in Amsterdam. It is possible that by that time he already lived in Haarlem. He was active in the Chamber of Rhetoric 'De Wijngaertranken' in Haarlem. The motto of this amateur literary circle was: In Love Above All Else.

In 1631 Brouwer returned to his native Flanders where he was registered as a master in the Antwerp Guild of St Luke even before he had become a poorter of Antwerp. The artist continued to live and work in Antwerp until his untimely death. The artist's name regularly shows up in Antwerp records usually in connection with arrangements for his various debts.

Early biographers describe how Adriaen Brouwer and his artist friends spent a lot of their time partying in the local taverns, often joined there by fellow artists. Brouwer painted a tavern scene called The smokers, which included a self-portrait together with portraits of Jan Cossiers, Jan Lievens, Joos van Craesbeeck and Jan Davidsz. de Heem

The company of friends is shown sitting around a table and smoking. Brouwer is the figure in the middle who is turned around to face the viewer. This type of group portrait doubled as a representation of one of the five senses

Despite his reported dissolute lifestyle and his preference for low-life subjects, Brouwer was highly respected by his colleagues as evidenced by the fact that Rubens owned 17 works by Brouwer at the time of his death, of which at least one had been acquired before Rubens got to know Brouwer personally. Rembrandt also had paintings by Brouwer in his collection

Brouwer left a small body of work amounting to about 60 works. Just a few of his works are signed, while none is dated. As Brouwer was widely copied, imitated and followed in his time, attributions of work to Brouwer are sometimes uncertain or contested. For instance, The smoker (Louvre) showing a man exhaling smoke while holding a bottle of liquor was attributed for a long time to Brouwer, but is now given to Brouwer's follower and, possibly, pupil Joos van Craesbeeck.

The principal subject matter of Brouwer are genre scenes with peasants, soldiers and other 'lower class' individuals engaging in drinking, smoking, card or dice playing, fights etc. often set in taverns or rural settings. Brouwer also contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. He produced a few landscapes in the final years of his career. Brouwer's compositions are nearly all executed in small format.

Brouwer was influenced by Dirck Hals, a genre painter who was active in Haarlem. Brouwer's stylistic development cannot be traced with certainty. Pictures in bright natural colours are believed to have been painted in the 1620s.

Brouwer influenced a large number of Flemish and Dutch painters including Cornelis Saftleven, David Teniers the Younger, Mattheus van Helmont, Hendrik Martenszoon Sorgh, Horatius Bollongier, Giacomo Francesco Cipper, Daniël Boone and Joseph Danhauser

Arthur Wheelock: Pleasure and Prestige: The Complex History of Collecting Flemish Art in America

Arthur K. Wheelock, Jr., Curator, Northern Baroque Painting, National Gallery of Art, Washington, D.C. presents his lecture, Pleasure and Prestige: The Complex History of Collecting Flemish Art in America on Friday, May 13, 2016. This lecture is part of the symposium 'America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles' presented by the Center for the History of Collecting at The Frick Collection on Friday and Saturday, May 13-14, 2016.

[previously hosted on Vimeo: 183 views]