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sources, and today many of his personal judgements still stand up to our modern scrutiny. Attacks of his judgement due to the spelling of artist's names or accusations that he was nationalistic and deemed all of these artists as "Netherlandish" must be dismissed on the grounds that the various borders between the
Netherlands, Germany, and Flanders were far from decided in the period during which he was writing, and spelling conventions in the Netherlands regarding names were only introduced by Napoleonic decree in the 1790s. Excepting those cases where the artist died quite young, or whose oeuvre was lost during various wars, very few artists were included in the
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in 1750–51. Though these books published well, with changing fashions, during the course of the 19th century
Houbraken fell out of favor with art historians, especially when his sketches were found wanting, incorrect, or even slanderous. Houbraken was very careful to check and double check his
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published his updated version (1729–47) in serial form that was published as a complete set in 1769. Houbraken's engravings of the artists are in some cases the only surviving portraits of these people.
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also became an engraver for an
Amsterdam publisher, and is known today for her embellishment of cityscapes and buildings with animals and people. His daughter
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assisted his mother with the last proofs of the manuscript before publishing. His first attempt at an instructive manual for artists was his
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169:(Twyndraat) from Johannes de Haan, who introduced him to engraving. After two years he then studied art with
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of portraits and book illustrations, including books by his father. His daughter
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Aen den heere Jakob Zeeus, den Wolf in 't schaepsvel ter drukpersse bestellende
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and religious paintings, portraits and landscapes. He is best known for the
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Arnold
Houbraken's books sold quite well during the entire 18th century.
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
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The first modern art historian to publish an update of his work was
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Eynden, Roeland van; Willigen, Adriaan van der (2 September 2008).
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The first to make a published sequel to
Houbraken's work was
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487:of the dbnl, the section on the Eighteenth century
148:Commemoration of King Mausolus by Queen Artemisia
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268:who do not hang in international museums today.
177:, the year 1672. He then studied 9 months with
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159:Pallas Athene Visiting Apollo on the Parnassus
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130:, now remembered mainly as a biographer of
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119:(28 March 1660 – 14 October 1719) was a
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331:In: Des menschen begin, midden en einde
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564:Digital library for Dutch literature
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402:Jacob Campo Weyerman on Google books
329:Inhoud van 't Sieraad der Afbeelding
227:Houbraken had ten children. His son
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341:The Great Theatre of Dutch Painters
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199:(1718–1721). When he died his son
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363:"Dictionary for Art Historians"
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181:and finally, four years with
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273:Adriaan van der Willigen
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171:Willem van Drielenburch
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526:"Search - Rijksmuseum"
183:Samuel van Hoogstraten
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630:Scholars of Dutch art
309:Rijksmuseum Amsterdam
219:, and his son Jacob.
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615:Dutch art historians
365:. arthistorians.info
253:Jacob Campo Weyerman
243:was also an artist.
625:Dutch male painters
576:(Edition from 1721)
241:Christina Houbraken
231:(1698–1780) was an
294:Public collections
237:Antonina Houbraken
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502:. Archived from
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73:(1719-10-14)
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590:1660 births
530:Rijksmuseum
510:1 September
205:Emblem book
99:art history
584:Categories
489:(in Dutch)
349:References
280:Schouburgh
49:1660-03-28
570:Schouburg
552:Schouburg
304:Rotterdam
266:Schouburg
128:Dordrecht
95:engraving
79:Amsterdam
57:Dordrecht
233:engraver
175:rampjaar
105:Movement
91:Painting
554:in the
464:13 June
436:13 June
408:13 June
386:in the
369:13 June
334:(1718)
327:(1712)
320:(1711)
286:of the
124:painter
247:Legacy
223:Family
161:(1703)
201:Jacob
193:work
121:Dutch
560:DBNL
512:2014
466:2012
438:2012
410:2012
371:2012
288:dbnl
278:The
138:Life
68:Died
43:Born
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388:RKD
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
