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It is clear from the revision and production process of these prints that Rubens was closely involved in their design and execution. This is documented by the process of the creation of a series of twelve plates after antique marble portrait sculptures (heads, busts, herms) by the four printmakers
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working for Rubens. The production of the prints was closely supervised by Rubens as is demonstrated by five retouched proof impressions. Only six of Rubens' preparatory drawings for the series have survived. Witdoeck showed in his prints after Rubens a great skill in capturing the movement and
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in the years 1630-1631. Vorsterman had joined Rubens' workshop around 1617 or 1618 and had established himself as Rubens' primary engraver since. Hans
Witdoeck broke the three-year training contract with Vorsterman after only two years at the instigation of his father. He then trained for two
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His style became more fluid while he worked at Rubens' workshop where he produced his best work. At Rubens' workshop
Witdoeck learned to engrave large plates. Witdoeck worked between 1634 and 1638 under the close supervision of Rubens on many engravings, including
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and his workshop. This early style was characterized by dry lines using many curves and an emphasis on plasticity. Witdoeck made two engravings after paintings of
Cornelis Schut and nine Madonna images, usually of a small size.
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He married
Catherina Gommaerts on 24 June 1642. Since there are no further records on Witdoeck following his marriage, it is presumed that he died shortly afterwards.
134:. Rubens specified the year 1638 for all these prints likely so that he only needed to apply for one printing privilege for the lot. The following year an
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where he learned the engraving of large plates. After the death of Rubens in 1640, Witdoeck worked mainly as an art dealer.
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variety of colour in the original works through his clever use of black, grey and white tones. A typical example is
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Manfred
Sellink. "Witdoeck, Hans." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 24 Dec. 2015
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In his early engravings he made for
Cornelis Schut, Witdoeck followed a traditional style similar to that of
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Hella Robels. "Vorsterman." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 23 Dec. 2015
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by
Witdoeck were published. Witdoeck also produced a few undated prints while at Rubens' workshop.
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Beknopte catalogus van de
Nederlandse tekeningen in het Prentenkabinet van de Uffizi te Florence
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Abraham en
Melchisedek: een proefdruk van een Rubensprent voor het Koninklijk Museum
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A. MICHIELS, Histoire de la peinture Flamande, 8 (1869), pp. 382, 387.
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Twelve Famous Greek and Roman Men / Sophocles Sophili F. Atheniensis
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38:, baptized 8 December 1615 - probably Antwerp, after 1642) was a
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who introduced him to painting. He subsequently trained with
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Untersuchungen zur Reproduktionsgraphik der Rubenswerkstatt
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Alternative spellings of last name: 'Witdoek' and 'Witdouc'
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276:A. MICHEL, Histoire de l’art, 6 (1922), 856f.
290:, München, 1985, pp. 130–40, 283–301.
57:Hans Witdoeck was a pupil of the engraver
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123:Saint Ildefonso receiving the chasuble
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160:, Lucas Vorsterman, and
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62:years with the painter
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107:Adoration of the Magi
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328:Artists from Antwerp
309:at Wikimedia Commons
113:Raising of the Cross
333:17th-century births
142:Miracle of St. Just
162:Boetius à Bolswert
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137:Assumption of Mary
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45:, draughtsman and
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323:Flemish engravers
305:Media related to
151:M. Tullius Cicero
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286:I. POHLEN,
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317:Categories
279:W. KLOEK,
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47:art dealer
140:and the
43:engraver
257:at the
197:at the
40:Flemish
36:Antwerp
128:Cicero
116:, the
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130:and
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53:Life
199:RKD
30:or
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