Thursday, April 24, 2014

Jan Baptist Weenix, who was nicknamed

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. In Rome, however, he was so well received that he stayed there four years, and Italianized himself to an extent that may be seen in a picture in the Wallace Collection, a Coast Scene with Classic Ruins, which he signs Gio. Batta. Weenix. Though he returned to Holland and settled near Utrecht, his manner was sensibly modified by his sojourn in Rome. canvas paintings for sale
Jan Weenix, who was born at Amsterdam in 1649, though he succeeded in so far assimilating his father's style that his earlier works are often confused with those of "Giovanni Battista," did not acquire the energy or the
 dramatic force displayed by Melchior Hondecoeter in representing live birds and animals, though he sometimes surpassed him in the finish and the harmony of his decorative arrangements of dead game and still life. Accordingly the one usually painted dead and the latter live birds. In other respects there is not much to distinguish their works. oil paintings for sale cheap
Nicholas Berchem was the only other pupil of Jan Baptist Weenix of whom we know anything. Berchem had other masters, beginning with his father, who was a painter of fish and tables covered with plates, china dishes, and such like. Having given his son the first rudiments of his art he found himself unequal to the task of cultivating the excellent disposition he observed in him, and therefore placed him with Van Goyen, Nicholas Moyaert, Peter Grebber, Jan Wils, and lastly with Jan Baptist Weenix, all of whom had the honour of assisting to form so excellent a painter. Indefatigable at his easel, Berchem acquired a manner both easy and expeditious; to see him work, painting appeared a mere diversion to him. modern oil paintings of flowers

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