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113:. The defining feature of the Paderborn high altar were the four winding columns that framed the altar. He is believed to have stayed in Paderborn until 1661, the year in which he became a master in the Antwerp guild. Through their work in Paderborn, the Willemsens brother gave an important impetus to the spread of Baroque art in Northern Germany.
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Willemsens collaborated with several major sculptors in
Antwerp. He was initially a frequent collaborator of his presumed master Artus Quellinus the Elder, contributing in particular to the Amsterdam new City Hall decorations. In the second half of the 17th century a few large sculpture workshops in
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which he completed in the period from 1655 to 1661. Willemsens was first recorded in
Paderborn on 26 February 1655, as working in the service of Dietrich Adolph, the Prince Bishop of Paderborn. His brother Anton worked alongside him on the decorations of Paderborn Cathedral for which Anton painted
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and
Verbrugghen with whom Willemsens also formed an informal partnership. The close links between these Antwerp workshops resulted in a very similar style of late Baroque sculpture, which has made it often difficult to identify which artist or workshop produced a particular work.
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Willemsens was born in
Antwerp where he was baptised in the Cathedral on 7 October 1630. His parents were Michiel Willemsens and Lucia Keersmaeckers. He had a brother called Anton or Anthonis who trained as a painter and was registered as a master in the Antwerp
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He married Anna
Corvers in Antwerp's Saint George ' s Church on 27 April 1671. His wife died on 8 January 1691. He received Jacobus van der Biest as his pupil in the guild year 1672–1673, Guiliam Schobbens in the guild year 1687–1688 and
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although there is no documentary evidence proving such apprenticeship. The reason why there is no record of his apprenticeship may have to do with the fact that, as a court sculptor, Quellinus was not required to be a member of the
Antwerp
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He died in
Antwerp where he was buried on 12 October 1702 in the Saint George ' s Church next to his wife. A Joanna Maria Willemsens was buried with them in 1709. She may have been a daughter or close relative
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style had a major influence on the development of sculpture in
Northern Europe. Quellinus worked for a long time in Amsterdam where he supervised the sculptural decorations program for the new
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He created mainly sculptured church furniture, and to a lesser extent individual sculptures, both portrait busts as well as statues of saints for churches. His altars can be found in
Antwerp,
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He was known in his time for his ability to sculpt small children, in particular in marble. His skill in this regard was described as being equal to that of the
Flemish sculptor
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Lodewijk is thought to have helped Quellinus in Amsterdam as a journeyman in his service and this is likely the reason why he delayed his admission as a
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six altarpieces. Lodewijk made the high altar in the Paderborn Cathedral in a grand Baroque style reminiscent of the high altar in the Antwerp
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Also known as 'Louis Willemsens' and 'Ludwig Willemsens' and family name variously spelled as 'Willemsen' or 'Willemssens'
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and so did not have to register his pupils with the Guild. Quellinus was the leading Flemish sculptor whose
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for his support in an eighteen-year long litigation between the Guild and the local guild of crossbowmen.
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Antwerp came to dominate the market. They were the workshops of the families Quellinus, van den Eynde,
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in Antwerp, and in the figures of saints in the choir stalls of the former Cistercian Abbey of
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 16 October 2020
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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248:). This bust was commissioned by the Guild of Saint Luke as a gift to the
503:(in German), vol. 7, Berlin: Duncker & Humblot, pp. 117–117
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His style is characterized by a sensual expressiveness which is close to
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sculptor Johann Mauritz Gröninger may also have trained with him.
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Volume 2, Antwerp, 1864, pp. 313, 325, 420, 522 and 614
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471:"Flemish sculpture: Art and manufacture c.1600–1750"
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in: Westfälische Zeitschrift, 97/II, 1947, p. 35-79
109:, which had been designed by Rubens and executed by
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448:Hans Vlieghe and Iris Kockelbergh. "Quellinus."
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244:in Antwerp but part of the collection of the
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296:10.1093/benz/9780199773787.article.B00197358
232:His best known work is probably the bust of
189:who was famous for his children's figures.
412:The Netherlands Institute for Art History
433:Die Barockisierung des Paderborner Domes
390:Ph. Rombouts and Th. van Lerius (eds.),
162:Confessional, St Andrew's Church Antwerp
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131:in the guild year 1698–1699. The
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234:Juan Domingo de Zuñiga y Fonseca
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26:Juan Domingo de Zuñiga y Fonseca
493:Margarete Pieper-Lippe (1966),
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283:Willemssens, Ludovicus or Louis
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219:Pieter Verbrugghen the Younger
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59:in the guild year 1649–1650.
227:St. James' Church in Antwerp
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495:"Gröninger, Johann Mauritz"
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555:Flemish Baroque sculptors
479:University College London
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500:Neue Deutsche Biographie
364:"WILLEMSSENS, Lodewijk"
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565:Painters from Antwerp
469:Leon E. Lock (2008).
334:"Lodewijk Willemsens"
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560:Artists from Antwerp
531:at Wikimedia Commons
242:Museum aan de Stroom
215:cathedral of Antwerp
129:Pierre-Denis Plumier
111:Johannes van Mildert
36:Ludovicus Willemsens
529:Lodewijk Willemsens
102:Paderborn Cathedral
98:Guild of Saint Luke
79:Guild of Saint Luke
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32:Lodewijk Willemsens
408:Anthonis Willemsen
240:(exhibited at the
187:François Duquesnoy
172:Church of St James
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38:(1630–1702) was a
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305:978-0-19-977378-7
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133:Paderborner
539:Categories
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343:15 October
256:References
370:20 August
311:20 August
149:Paderborn
87:city hall
290:. 2011.
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180:Hemiksem
168:Van Dyck
225:in the
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83:Baroque
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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