Dutch , Leyden 1596-The Hague 1656 was a Dutch landscape painter. Van Goyen was an extremely prolific artist; approximately twelve hundred paintings and more than one thousand drawings by him are known. Jan van Goyen was the son of a shoemaker and started as an apprentice in Leiden. Like many Dutch painters of his time, Jan van Goyen studied art in the town of Haarlem with Esaias van de Velde. At age 35, he established a permanent studio at Den Haag (The Hague). Crenshaw tells (and mentions the sources) that Van Goyen's landscape paintings rarely fetched high prices, but he made up for the modest value of individual pieces by increasing his production, painting thinly and quickly with a limited palette of inexpensive pigments. Despite his market innovations, he always sought more income, not only through related work as an art dealer and auctioneer but also by speculating in tulips and real estate. Although the latter was usually a safe avenue of investing money, in Van Goyen's experience it led to enormous debts. Paulus Potter rented one of his houses. Nicolaes van Berchem became his pupil. In 1652 and 1654 he was forced to sell his collection of paintings and graphic art, and he subsequently moved to a smaller house. He died in 1656, still unbelievably 18,000 guilders in debt, forcing his widow to sell their remaining furniture and paintings.  Related Paintings of Jan josephsz van goyen :. | Ator | Abel Mourned by his Parents sg | Episode of the September Days 1830 | Iris Pseudocorus | Lady Fastening her Garter |
Related Artists:
Johann Wilhelm Preyer
painted A Still Life with Peaches and Grapes on a Marble Ledge in 1803-1889
Lucia Anguissola
Italian Mannerist Painter, 1540-1565
DARET, Jacques
Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,