Hendrick Goltzius, born in the Lower Rhine region, came from a family with a long artistic tradition. His great-grandfather and grandfather were painters in Venlo. His father Jan Goltz II was also a respected painter specializing in stained glass from Duisburg in Germany. The Dutch art theorist Karel van Mander I, born at the end of the 16th century, was not only a friend of the family, but also the first biographer to write about the artist Hendrick Goltzius. In his texts, one can read that Goltzius took lessons as a young man from the draughtsman Dirck Volckertz Coornhert. Goltzius moved with his teacher from Xanten to Haarlem in 1576. Three years later, the young man married the widow Margaretha Jansdr. Margaretha took her eight-year-old son Jacob into the marriage. Goltzius was not only an important father figure for Jacob, but also his teacher. Thanks to Goltzius' professional guidance, Jacob became a respected printmaker.
Goltzius was also known as a graphic artist. He produced prints as well as drawings using a variety of techniques. The talented artist mastered the craft of working with metal pencil, brush and ink as well as chalk. Goltzius is also considered a master in the technique of pen painting, which he invented, in which a pencil is used directly on the canvas. In this way, the impression of a print is recreated. His contemporaries admired him for his large, monochrome works. Decisive factors were Goltzius' attention to detail and the innovative process of his craft.
Goltzius' early work from the late 1580s is still strongly influenced by international mannerism. Mannerism is characterized by long, dark figures and highly dynamic compositions as seen in the works of the Flemish artist Bartholomaeus Spranger. Goltzius made engravings after Spranger's drawings, which his friend and biographer Van Mander brought back from Prague. In 1590 Goltzius travelled to Italy and stayed there for six months. Allegedly he wanted to recover from an illness there. The artist used his time in Rome for the intensive study of ancient sculptures and the human body. As a result, his own artistic work began to be based on this and his art became increasingly classical.
Back in his native Netherlands, the talented draughtsman expanded his craft repertoire to include painting. With increasing age his eyesight became weaker. This played a major role in Goltzius' decision to switch to painting, which did not require the high precision of printmaking. However, some art historians also assume that this new orientation was made by Van Mander. Van Mander himself perceived painting as the highest art form. This opinion probably influenced his confidant Goltzius, who held Van Mander in high esteem.
In 1612 Goltzius had the honour to be visited personally by the famous artist Peter Paul Rubens. Rubens was on the lookout for the best reproduction engraver and had therefore travelled as far as Haarlem. Rubens finally commissioned the graphic artist Lucas Emil Vorsterman, who was one of Goltzius' most talented assistants, to produce prints after his paintings.
Hendrick Goltzius, born in the Lower Rhine region, came from a family with a long artistic tradition. His great-grandfather and grandfather were painters in Venlo. His father Jan Goltz II was also a respected painter specializing in stained glass from Duisburg in Germany. The Dutch art theorist Karel van Mander I, born at the end of the 16th century, was not only a friend of the family, but also the first biographer to write about the artist Hendrick Goltzius. In his texts, one can read that Goltzius took lessons as a young man from the draughtsman Dirck Volckertz Coornhert. Goltzius moved with his teacher from Xanten to Haarlem in 1576. Three years later, the young man married the widow Margaretha Jansdr. Margaretha took her eight-year-old son Jacob into the marriage. Goltzius was not only an important father figure for Jacob, but also his teacher. Thanks to Goltzius' professional guidance, Jacob became a respected printmaker.
Goltzius was also known as a graphic artist. He produced prints as well as drawings using a variety of techniques. The talented artist mastered the craft of working with metal pencil, brush and ink as well as chalk. Goltzius is also considered a master in the technique of pen painting, which he invented, in which a pencil is used directly on the canvas. In this way, the impression of a print is recreated. His contemporaries admired him for his large, monochrome works. Decisive factors were Goltzius' attention to detail and the innovative process of his craft.
Goltzius' early work from the late 1580s is still strongly influenced by international mannerism. Mannerism is characterized by long, dark figures and highly dynamic compositions as seen in the works of the Flemish artist Bartholomaeus Spranger. Goltzius made engravings after Spranger's drawings, which his friend and biographer Van Mander brought back from Prague. In 1590 Goltzius travelled to Italy and stayed there for six months. Allegedly he wanted to recover from an illness there. The artist used his time in Rome for the intensive study of ancient sculptures and the human body. As a result, his own artistic work began to be based on this and his art became increasingly classical.
Back in his native Netherlands, the talented draughtsman expanded his craft repertoire to include painting. With increasing age his eyesight became weaker. This played a major role in Goltzius' decision to switch to painting, which did not require the high precision of printmaking. However, some art historians also assume that this new orientation was made by Van Mander. Van Mander himself perceived painting as the highest art form. This opinion probably influenced his confidant Goltzius, who held Van Mander in high esteem.
In 1612 Goltzius had the honour to be visited personally by the famous artist Peter Paul Rubens. Rubens was on the lookout for the best reproduction engraver and had therefore travelled as far as Haarlem. Rubens finally commissioned the graphic artist Lucas Emil Vorsterman, who was one of Goltzius' most talented assistants, to produce prints after his paintings.
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