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in 1604. He set up his own workshop and took
Abraham Leerse on as an apprentice in 1610. From this period date a series of 12 drawings of the months, which were engraved and published in print form. Wildens travelled in 1613 or 1614 to Italy where he stayed until 1616. Around 1615–1616 he created a
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His work in the 1620s and 1630s employed decorative forms, loose compositions and a broad technique reminiscent of Rubens. Earlier influences on him such as Jan
Brueghel the Younger and Paul Bril continued to play a significant role. Wildens' works show a preference for a calm and gentle approach
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In the house he inherited from his mother in the Lange
Nieuwstraat in Antwerp he opened a picture gallery with over 700 paintings. The gallery was very successful and was later operated by his son Jeremias. When Rubens died in 1640, Jan Wildens acted as a testamentary executor of his estate.
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with its realism and eye for detail. Upon his return to
Antwerp, Wildens became a frequent collaborator with Rubens. He was responsible for the landscape backgrounds of various scenes in the designs of Rubens for the Decius Mus tapestry series and many history paintings by Rubens, including
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series of 12 landscape paintings representing the 12 months of the year, roughly similar to his early drawings. These paintings show his increasing interest in
Realism, which was likely a result of his exposure to the landscapes of his compatriot
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Jan
Wildens was born in Antwerp as the son of Hendrick Wildens and Magdalena van Vosbergen. His father died when he was still young. His mother remarried to Cornelis Cock, who later became the father in law of the Antwerp portrait painter
50:. His Realist landscapes show an eye for detail and have a serene character. He was a regular collaborator with Rubens and other leading Flemish Baroque painters of his generation in whose compositions he painted the landscapes.
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After 1640 he adopted the rather sketchy method and the vibrating, atmospheric light that Rubens used in his own later landscapes. Wildens also increased the dramatic element in his landscapes from that time.
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later became Rubens' second wife. Maria
Stappaert died in 1624 after bearing Wildens two sons, both of whom became painters: Jan Baptist (1620–1637) and Jeremias (1621–1653). Both of his sons died young.
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Wildens became very prosperous thanks to his professional success. He worked for prominent patrons and participated, like many other
Antwerp artists, on the decorations for the
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as an apprentice of Pieter van der Hulst (I) (also known as 'Peter
Verhulst' or 'Floris Verhulst'), (c. 1565 – c. 1628), a minor painter from Mechelen.
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Jan
Wildens was a landscape specialist. The compositions of his early landscapes before his visit to Italy were influenced by Flemish artists such as
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expressed in marked symmetry of composition and soft, subtle colours. The contrast with Rubens is evident in Wildens' serene
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Hans Devisscher. "Wildens, Jan." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 22 January 2016
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Upon returning to Antwerp, he became a frequent collaborator and a close friend of
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Later in his career he painted landscapes for many other Antwerp painters such as
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In Italy Wildens discovered the landscape art of his compatriot
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Pleasant Places: The Rustic Landscape from Bruegel to Ruisdael
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into Antwerp of the new governor of the Habsburg Netherlands
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Landscape with Christ and his disciples on the road to Emmaus
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His pupils included his sons Jan Baptist and Jeremias and
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421:The Rape of the Daughters of Leucippus by Rubens
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