454:
294:(Geertgen's) two paintings in Vienna indicate a self-assured artist; of the works attributed to Geertgen, they are certainly among the most mature and independent. If the artist was really only twenty-eight when he died, then the altarpiece began at about thirteen years of age and lasted four to six years, so that Geertgen can have ended his training at the earliest by the age of about eighteen. Should he have gone to work for one or two years as a journeyman, then the age at which he began to live by his art correspondingly rises. Accordingly, Geertgen worked a maximum of ten years independently. ...If one now dates the altarpiece for the Knights of St John to around 1490, then Geertgen must, roughly speaking, have been born around 1462/1467 – after the inscription on Matham's engraving in Leiden – and would have begun his apprenticeship around 1475/80.
618:
438:
185:
426:
281:
330:
31:
1390:
605:. Around twelve surviving paintings are attributed to him (see below), with others believed to be copies by others of lost originals by him. Painting at that time was a trade to which one entered by apprenticeship at a young age in an established workshop. With modern techniques it is now possible to see some
648:, the figures of Maria and the infant Jesus are surrounded by three concentric rings which appear to be surrounding a central halo. This "halo" is usually associated with the biblical verse in the Book of Revelation referring to the woman clothed in the Sun, interpreted as representing the Madonna in heaven.
354:
wood was burnt down by the enemy. In 1469 the commandry of St. John in
Haarlem was promoted to a special status that fell directly under the grand Prior of Germany. Before that it was a subordinate commandry of the Balij of Utrecht, which had 12 commandries reporting to it. The commandry of St. John
659:
panel are found a variety of musical instruments. This painting shows some of the oldest pictures of musical instruments known in the
Netherlands (c.1480–1490). In the central depiction of the infant Jesus with the Madonna, the infant Jesus is depicted as playing a pair of bells, and seems to be
411:, showing that three men were inspired by this painting. The other side of this altarpiece is showing the burning of the bones of St. John and probably contains a group portrait of the Haarlem members of the order of St. John, with the Commandeur or Precepteur holding the finger of St. John.
572:
said of
Geertgen "Truly he was a painter in his mother's womb", although Dürer's journal of his Netherlandish travels doesn't mention the painter, and it has been suggested that Van Mander was using a form of epideictic rhetoric to build esteem for a fellow Haarlemer.
242:", which means that son Theo made the sketch from the painting, and father Jacob Matham engraved it. It was printed in Haarlem in 1620, indicating that the painting was still there at that time. According to van Mander, this painting of the
1006:
As
Kemperdick adds, "This at least is assumed in older research, for example by Friedlander 1923, while Snyder 1996, p. 231, without giving reasons, assumes a career of twenty years and consequently cannot give credence to Van Mander's age
257:
He died, probably still in his twenties, around the year 1495, in
Haarlem, where he was buried in the commandry. Modern scholars have attempted to calculate the artist's death date with the information from
176:. In van Mander's book he states that Geertgen took the name of St. John without joining the order, thus his last name "tot Sint Jans" was derived from the order's name and means "unto Saint John".
254:. Both side panels are quite fragile and are located in separate museums today. Modern acceptance of Leiden as Geertgen's birthplace is roughly traceable to Johann Kessler's dissertation of 1930.
730:
718:
710:
1272:
503:
The number of works attributed to him (varying between 12 and 16) is under dispute among scholars who discuss the artist (Kessler, Boon, Snyder, Chatelet, Fiero, and Koch).
412:
660:
playing music as if in response to one of the angels in the outermost concentric ring, holding an identical set of bells and looking directly back at the infant Jesus.
789:
250:
for the high altar of the St. John's church in
Haarlem, and the two side panels were sawed off from the central panel into two separate paintings after the
396:
500:
panels with oil paints made by mixing pigments with drying oil. This allowed the painter to build up layers of paint to provide different visual effects.
1487:
702:
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453:
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139:. No contemporary documentation of his life has been traced, and the earliest published account of his life and work is from 1604, in
1527:
694:
277:, published in 1604. The reconstruction of Geertgen's active dates has recently been done by Kemperdick and Sander in 2007 stating:
1503:
1410:
334:
617:
322:. In 1429 the city gained the right to collect tolls, including ships passing the city on the Spaarne river. At the end of the
1372:
Geertgen was hier: meesterschilder, lekenbroeder en inspirator, 2009, exhibition catalog edited by
Maarten Brock, Amstelveen,
1576:
1377:
1456:
750:
686:
1495:
286:
1367:
1357:
820:
524:
1519:
1449:
758:
636:
622:
343:
1596:
1581:
1394:
651:
The original diptych was first presented with a left panel of identical size usually referred to as
Geertgen's
1586:
1223:
812:
670:
1545:
1401:
1362:
Deugd boven geweld, Een geschiedenis van
Haarlem, 1245–1995, edited by Gineke van der Ree-Scholtens, 1995,
1216:
425:
218:, around the year 1465. The assignment of Leiden as his birthplace is traceable to a 17th-century print by
128:
108:
678:
298:
In the 14th century
Haarlem was a major city. It was the second largest city in historical Holland after
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1591:
1423:
970:
871:
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is where this painting formed the main altarpiece, currently home for the North Holland Archives.
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51:
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Haarlem was a flourishing city with a large textile industry, shipyards and beer breweries.
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485:
315:
69:
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8:
469:
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153:
88:
529:
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816:
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Of the paintings mentioned by Van Mander, the only one to survive is one wing of his
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215:
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569:
408:
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1328:
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490:
479:
404:
368:
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123:, Gerrit van Haarlem, Gerrit Gerritsz, Gheertgen, Geerrit, Gheerrit, or any other
472:
at Haarlem, the two sides of which were sawn apart in about 1600, and are now in
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269:
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Cum privil. Sa Cae. M. – Gerardus Leydanus Pictor ad S. Ia Bapt. Harlemi pinxit
145:
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226:. There is no known archival evidence for this claim by Matham. This print of
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590:
364:
280:
206:, indicating he was from Haarlem, it is possible that he was perhaps born in
157:
132:
1020:. This specification of origin seem credible (cf. Van Bueren 1993, p. 379.)"
383:) that later came into the possession of the St. Janskerk. Geertgen painted
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379:. Schoten was also the location of a St. Lazarus church (currently part of
329:
263:
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at St John the Baptist in Haarlem. In the lower right hand corner it says "
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1091:"Venite, adoremus. Geertgen tot Sint Jans and the Adoration of the Kings"
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He may also have been known as Gerrit Gerritsz – see Campbell, 232
1045:
The Technology of Salvation and the Art of Gertgen Tot Sint Jans.
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1312:
Geschiedenis van het gebeente (beenderen) van Johannes de Doper
1035:
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235:
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As is typical of the art of the time it was done primarily on
537:
303:
1032:. Kemperdick and Sander, pp. 34–35. Hirmer Verlag. Meunchen.
995:
Geertgen tot Sint Jans: Zijn herkomst en invloed in Holland
872:"Het leven van Geertgen tot S. Ians, Schilder van Haerlem"
399:, a mirror image engraving, that includes a Latin poem by
355:
became quite wealthy from donations by the local families
152:
According to van Mander, Geertgen was probably a pupil of
497:
1424:
Het leven van Geertgen tot S. Ians, Schilder van Haerlem
342:
Around 1428 the city was put under siege by the army of
246:
was originally on the inside right door of a wood-panel
1018:
Gerardus Leydanus Pictor ad W. Io. Bapt. Harlemi pinxit
971:"T'leven van Albert van Ouwater, Schilder van Haerlem"
164:, where Geertgen was attached to the house of the
655:. Within the concentric rings of the halo in the
350:, and thus against Jacoba of Bavaria. The entire
1558:
1331:'s "nationalistic" project, see Walter Melion's
862:
860:
858:
581:Like most painters of his time, he painted with
459:The Legend of the Relics of St. John the Baptist
156:, one of the first oil painters in the northern
589:. His paintings depict scenes derived from the
346:. Haarlem had taken sides with the Cods in the
1457:
1350:The Fifteenth Century Netherlandish Paintings
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1083:
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1079:
1077:
929:
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911:Digitale Bibliotheek der Nederlandse Letteren
855:
506:His paintings are in the collections of the
240:Theodorus Matham Sculpsit. Iac Matham excud.
204:Geertgen tot Sint Jans, painter from Haarlem
230:from 1620, shows in the lower left corner "
1471:
1464:
1450:
1348:National Gallery Catalogues (new series):
1096:. Oskar Reinhart Collection 'Am Römerholz'
1074:
920:
800:
798:
917:, "Digital Library of Dutch Literature")
616:
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328:
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1170:. Rijksmuseum Amsterdam. Archived from
804:
1559:
965:
866:
795:
1445:
644:and originally part of the so-called
612:
395:in Haarlem. The painting Lamentation
160:. Both painters lived in the city of
1437:Literature on Geertgen tot Sint Jans
1321:
1193:"John the Baptist in the Wilderness"
489:. The rest was destroyed during the
1304:
234:" indicating he was a painter from
119:(c. 1465 – c. 1495), also known as
13:
1496:John the Baptist in the Wilderness
751:John the Baptist in the Wilderness
609:that Geertgen made on his panels.
397:was copied by Jacob Matham in 1620
287:John the Baptist in the Wilderness
192:as a light source on his painting
14:
1608:
1383:
1388:
1322:
663:
478:The Legend of the Relics of St.
436:
424:
29:
1520:The Glorification of the Virgin
1333:Shaping the Netherlandish Canon
1305:
1265:
1241:
1209:
1185:
1160:
1131:
1107:
1050:
1023:
1010:
759:The Glorification of the Virgin
637:The Glorification of the Virgin
623:The Glorification of the Virgin
344:Jacqueline, Countess of Hainaut
62:c. 1495 (aged approximately 28)
1000:
987:
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1:
1342:
1224:Museum Boijmans Van Beuningen
813:Northwestern University Press
627:
597:. Some of his paintings were
222:, where he is referred to as
1577:Early Netherlandish painters
1546:Early Netherlandish painting
576:
563:
202:Though van Mander calls him
179:
109:Early Netherlandish painting
7:
1217:"The Glorification of Mary"
1168:"The Adoration of the Magi"
1115:"The Lamentation of Christ"
762:(c. 1490–1495), also named
657:Madonna with Musical Angels
646:Rotterdam-Edinburgh Diptych
642:Madonna with Musical Angels
448:
129:Early Netherlandish painter
16:Early Netherlandish painter
10:
1613:
1417:(1966) by Wolfgang Stechow
805:Stechow, Wolfgang (1966).
1538:
1488:The Adoration of the Magi
1479:
1016:Given by Kemperdick as, "
993:Johann Heinrich Kessler.
703:The Adoration of the Magi
687:The Lamentation of Christ
457:Geertgen tot Sint Jans –
385:The Lamentation of Christ
228:The Lamentation of Christ
172:, for whom he painted an
104:
94:
84:
76:
58:
40:
28:
21:
1415:Northern Renaissance Art
1352:, Lorne Campbell, 1998,
1327:For more information on
1058:"The raising of Lazarus"
935:"Geertgen tot Sint Jans"
777:
734:– the right side of the
593:and belong to the early
554:Kunsthistorisches Museum
542:Museum Catharijneconvent
520:National Gallery, London
1273:"The Nativity at Night"
722:– the left side of the
568:Van Mander states that
1473:Geertgen tot Sint Jans
1402:Geertgen tot Sint Jans
1395:Geertgen tot Sint Jans
736:Adoration of the Kings
731:St. Hadrian with Donor
724:Adoration of the Kings
711:Adoration of the Kings
671:The raising of Lazarus
631:
534:The raising of Lazarus
461:
431:Lamentation of Christ
339:
290:
252:Protestant Reformation
212:Burgundian Netherlands
199:
188:Geertgen depicted the
117:Geertgen tot Sint Jans
52:Burgundian Netherlands
35:Geertgen tot Sint Jans
23:Geertgen tot Sint Jans
1597:Dutch Roman Catholics
1582:Painters from Haarlem
1406:Rijksmuseum Amsterdam
1397:at Wikimedia Commons
1143:Rijksmuseum Amsterdam
1047:Chapter 2, pp. 37–60.
942:Rijksmuseum Amsterdam
620:
456:
413:The St. John's church
407:, and Latin quote by
393:Knights of Saint John
391:of the church of the
332:
283:
224:Gerardus van Leydanus
187:
166:Knights of Saint John
1587:Painters from Leiden
1411:Geertgen van Haarlem
808:Geertgen van Haarlem
486:Lamentation of Jesus
468:for an altar of the
284:Geertgen's painting
121:Geertgen van Haarlem
70:Habsburg Netherlands
1254:. Art and the Bible
1198:. Art and the Bible
1120:. Art and the Bible
1063:. Art and the Bible
679:St Bavo with falcon
470:Knights of St. John
443:Detail Lamentation
381:Museum van de Geest
1428:Het schilder-boeck
1249:"Virgin and Child"
1139:"The Holy Kinship"
719:St Bavo with Donor
632:
613:Portrayal of music
510:in Amsterdam, the
462:
403:, a dedication to
340:
291:
200:
154:Albert van Ouwater
131:from the northern
127:of Gerald, was an
89:Albert van Ouwater
1592:Catholic painters
1554:
1553:
1512:Nativity at Night
1393:Media related to
1378:978-94-90349-01-1
967:Mander, Karel van
868:Mander, Karel van
770:Nativity at Night
743:Madonna and child
653:Passion of Christ
525:Nativity at Night
348:Hook and Cod wars
260:The Painting-Book
216:Holy Roman Empire
195:Nativity at Night
137:Holy Roman Empire
114:
113:
1604:
1528:The Holy Kinship
1466:
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1443:
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1432:Karel van Mander
1422:
1392:
1329:Karel van Mander
1326:
1309:
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1291:
1282:. Archived from
1280:National Gallery
1269:
1263:
1262:
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1259:
1245:
1239:
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1235:
1226:. Archived from
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1207:
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1204:
1203:
1189:
1183:
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1158:
1157:
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1145:. Archived from
1135:
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790:Getty ULAN entry
787:
764:Virgin and Child
695:The Holy Kinship
640:, also known as
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491:siege of Haarlem
480:John the Baptist
440:
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405:Jacob van Campen
275:Karel van Mander
141:Karel van Mander
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401:Joan Albert Ban
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664:List of works
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638:
625:
624:
619:
610:
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607:underdrawings
604:
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591:New Testament
588:
584:
574:
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1567:1460s births
1526:
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1510:
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1494:
1486:
1472:
1427:
1414:
1387:
1349:
1332:
1323:
1311:
1306:
1288:. Retrieved
1284:the original
1276:
1267:
1256:. Retrieved
1252:
1243:
1232:. Retrieved
1228:the original
1220:
1211:
1200:. Retrieved
1196:
1187:
1176:. Retrieved
1172:the original
1162:
1151:. Retrieved
1147:the original
1133:
1122:. Retrieved
1118:
1109:
1098:. Retrieved
1094:
1065:. Retrieved
1061:
1052:
1044:
1029:
1025:
1017:
1012:
1002:
994:
989:
978:. Retrieved
976:(in Dutch).
974:
961:
950:. Retrieved
946:the original
938:
914:
910:
905:
899:
890:
879:. Retrieved
877:(in Dutch).
875:
826:. Retrieved
807:
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220:Jacob Matham
203:
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144:
120:
116:
115:
1572:1495 deaths
1523:(1490–1495)
1491:(1480–1485)
845:|work=
603:Reformation
601:during the
587:wood panels
508:Rijksmuseum
324:Middle Ages
302:and before
244:Lamentation
190:Child Jesus
170:lay brother
77:Nationality
1561:Categories
1430:(1604) by
1421:(in Dutch)
1343:References
1290:2008-04-05
1258:2008-04-05
1234:2008-04-05
1202:2008-04-05
1178:2008-04-05
1153:2008-04-05
1124:2008-04-05
1100:2008-04-07
1067:2008-04-05
980:2008-04-05
952:2008-04-05
881:2008-04-05
828:2008-04-06
773:(c. 1490?)
630:1490–1495)
552:) and the
483:, and the
389:altarpiece
361:Assendelft
357:Berkenrode
338:c. 1485–95
174:altarpiece
1499:(c. 1485)
1480:Paintings
847:ignored (
837:cite book
754:(c. 1490)
746:(c. 1490)
714:(c. 1485)
682:(c. 1490)
599:destroyed
583:oil paint
577:Technique
564:Reception
493:in 1573.
320:Rotterdam
312:Amsterdam
300:Dordrecht
180:Biography
85:Education
1531:(c.1495)
969:(1604).
870:(1604).
466:triptych
449:Painting
387:for the
377:Adrichem
248:triptych
105:Movement
99:Painting
1539:Related
1404:at the
909:in the
674:(1480s)
634:In his
546:Utrecht
528:), the
417:Haarlem
373:Schoten
369:Tetrode
214:in the
162:Haarlem
135:in the
66:Haarlem
44:c. 1465
1515:(1490)
1376:
1366:
1356:
819:
558:Vienna
518:, the
516:Berlin
474:Vienna
375:, and
308:Leiden
236:Leiden
208:Leiden
48:Leiden
1316:Dutch
778:Notes
538:Paris
536:) in
316:Gouda
304:Delft
273:) by
80:Dutch
1374:ISBN
1364:ISBN
1354:ISBN
915:DBNL
904:The
849:help
817:ISBN
318:and
268:Het
59:Died
41:Born
1426:in
1413:in
1314:in
585:on
556:in
544:in
514:in
498:oak
476:as
415:in
143:'s
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1275:.
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