640:
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808:
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492:
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1680:
557:
472:
820:
433:
624:
63:
1029:
572:
1195:
352:
A hypothesis put forward in 2021 and explained in 2024 stating that the drawings in the two Berlin scrapbooks were not executed by
Maarten van Heemskerck and the Anonimi A and B, but with a few exceptions entirely by the sculptor Cornelis Floris II and dated between 1535/36 and 1538, was not taken up
356:
Not only the provenance history of the Roman sketchbook, but above all stylistic and handwritten comparisons confirm Van
Heemskerck's authorship. In addition, Van Heemskerck often reused Roman motifs from his drawings in later works, which would not have been possible if Cornelis Floris, who worked
272:
Heemskerck then went to lodge at the home of the wealthy curate of the Sint-Bavokerk, Pieter Jan
Foppesz (whose name van Mander writes as Pieter Ian Fopsen). They knew each other because Foppesz owned land in Heemskerk. The artist painted him in a now famous family portrait, considered the first of
858:
Heemskerck was widely respected in his own lifetime and was a strong influence on the painters of
Haarlem in particular. He is known (along with his teacher Jan van Scorel) for his introduction of Italian art to the Northern Netherlands, especially for his series on the wonders of the world, that
849:
In
Amsterdam he made a will, which has been preserved. It shows that he had lived long enough and prosperously enough to make a fortune. At his death, he left money and land in trust to the orphanage of Haarlem, with interest to be paid yearly to any couple who should be willing to perform the
357:
in
Antwerp, had been the author. The results of the art technological examination of 2024 also contradict the hypothesis, as the ink of the drawings in the Roman sketchbook has the same composition as the undoubtedly autograph sheets of larger format, some of which are signed and dated.
376:
The alteration in his style, brought about by his experience of Italy was not universally admired. According to van Mander, "in the opinion of some of the best judges he had not improved it, except in one particular, that his outline was more graceful than before".
1135:
BĂĽttner, Nils; Dietz, Georg Josef; Eising, Erik; Fontolan, Enrico; Kessler, Hans-Ulrich; Mattei, Francesca; Mazzetti di
Pietralata, Cecilia; Miedema, Nine Robijntje; Penz, Antje (2024). Heemskerk, Maarten van; Melzer, Christien; Bartsch, Tatjana (eds.).
508:
294:
label on the painting begins "This picture is a remembrance from its painter, Marten
Heemskerck; he has here dedicated his labours to St Luke as a proof of regard to his associates in his profession, of which that saint is patron".
428:
He was one of the first
Netherlandish artists to make drawings specifically for reproduction by commercial printmakers. He employed a technique incorporating cross-hatching and stippling, intended to aid the engraver.
693:) in 1543, and an altar-piece for the Drapers' Company at Haarlem, finished in 1546 and now in the gallery of the Hague. They show how Heemskerck studied and repeated the forms which he had seen in the works of
1083:"Weshalb die 'Römischen Skizzenbücher von Marten van Heemskerck' nicht von Heemskerck stammen können: Quellenkritische, überlieferungsgeschichtliche und kennerschaftliche Anmerkungen zu zwei Neuerscheinungen"
532:
837:, which Heemskerck painted twice for two painter's guilds, there is some confusion in the literature about a parrot. In both paintings he painted a parrot, but the parrot in a cage has been sawn off
850:
marriage ceremony on the slab of his tomb in the cathedral of
Haarlem. It was a superstition in Catholic Holland that a marriage so celebrated would secure the peace of the dead within the tomb.
491:
974:
Families in beeld, – Frauke K. Laarmann, Families in beeld: De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zeventiende eeuw. Hilversum, 2002, Verloren,
261:, but was recalled to Heemskerk by his father to work on the family farm. However, having contrived an argument with his father he left again, this time for Delft, where he studied under
353:
by archaeological and art-historical research and was refuted by several contributions to the Berlin exhibition catalog “The Allure of Rome. Maarten van Heemskerck draws the city."
205:, and adopted his teacher's Italian-influenced style. He spent the years 1532–36 in Italy. He produced many designs for engravers, and is especially known for his depictions of the
799:
in the gallery of Vienna. Other pieces of varying importance are in the galleries of Rotterdam, Munich, Cassel, Brunswick, Karlsruhe, Mainz, Copenhagen, Strasbourg and Rennes.
273:
its kind in a long line of Dutch family paintings. His other works for Foppesz included two life size figures symbolising the Sun and the Moon on a bedstead, and a picture of
639:
1649:
453:
Heemskerck produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world. His addition to the conventional list was the
760:, shows that he was well acquainted with anatomy and fond of florid architecture. Two altar-pieces which he finished for churches at Delft in 1551 and 1559, one complete (
1044:
603:
303:
He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal
1595:
Tatjana Bartsch, "Kapitell. Colosseum. Überlegungen zu Heemskercks Bildfindungen am Beispiel von fol. 28 r. des römischen Skizzenbuches," Kathrin Schade e.a. (ed.),
556:
1302:
911:
471:
1588:
Tatjana Bartsch, "Transformierte Transformation. Zur 'fortuna' der Antikenstudien Maarten van Heemskercks im 17. Jahrhundert," Ernst Osterkamp (ed.),
815:
before he left Haarlem for Italy in 1532. It was cut down and sawn in two, and has since been rejoined, but is still short. The parrot was at the top.
587:
1711:
1567:
Tatjana Bartsch, "Maarten van Heemskercks Zeichnung des 'Brutus' und seine Verbindung zu Kardinal Rodolfo Pio da Carpi," Agnes Schwarzmaier (ed.),
277:"rather smaller but (it is said) after living models". His next home was in the house of a goldsmith, Justus Cornelisz, on the edge of Haarlem.
392:). Muys had returned from a period in France to the Netherlands in 1538 and became prior of the St. Agatha cloister in Delft (later became the
1382:
341:
While in Rome where he made numerous drawings of classical sculpture and architecture, many of which survive in two sketchbooks now in the
262:
1743:
838:
833:
812:
656:
1049:
635:. Exaggerated expressions and robust musculature created with relatively little paint are prime characteristics of Heemskerck's style.
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in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of
310:
It is evident of the facility with which he acquired the rapid execution of a scene-painter that he was selected to collaborate with
1425:
1677:, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Maarten van Heemskerck (see index)
1669:, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Maarten van Heemskerck (see index)
1407:
222:
1775:
886:
662:
1664:
1613:(Roosendaal: Koninklijke Van Poll, 1993-1994) (The new Hollstein Dutch & Flemish etchings, engravings and woodcuts, 1, 2).
1290:
1145:
1140:. Kupferstichkabinett, Bibliotheca Hertziana, Kulturforum Berlin. Berlin: Kupferstichkabinett - Staatliche Museen zu Berlin.
979:
17:
901:
721:
1704:
906:
319:
1327:
660:
in presence of a poet crowned with ivy leaves, and a parrot in a cage – an altar-piece in the gallery of Haarlem, and the
1852:
675:
373:(in 1540), married twice (his first wife and child died during childbirth), and secured a large and lucrative practice.
1791:
1767:
1751:
1673:
1555:
Les villes détruites de Maarten van Heemskerck. Images de ruines et conflits religieux dans les Pays-Bas au XVIe siècle
1476:
726:
682:
in 1539–1543, composed of at least a dozen large panels, which including portraits of historical figures, preserved in
807:
1857:
1282:
1867:
1783:
610:
67:
1697:
311:
1877:
1872:
1847:
1160:
G.J. Dietz, A. Penz, C. Wintermann, "Materials, Techniques, and Reconstruction of the Small Drawing Book", in:
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571:
877:
824:
731:
643:
Painting by van Heemskerck depicting the abduction of Helen, queen of the Greek city-state Sparta, by Paris.
338:, who saw the battle-pieces which Heemskerk then produced, said they were well composed and boldly executed.
331:
1862:
1684:
1581:
Arthur J. DiFuria, "Remembering the Eternal: Maerten van Heemskerck's Self-Portrait Before the Colosseum,"
1068:
Fifteenth to Eighteenth Century Eighteenth Century Drawings in the Robert Lehman Collection: Central Europe
285:
1735:
1082:
780:, and scenes from the lives of St. Bernard and St. Benedict, are all fairly representative of his style.
396:). This lucrative and high-profile work in Delft earned Heemskerck a commission for an altarpiece in the
370:
1574:
Arthur J. DiFuria, "Maerten van Heemskerck's Collection Imagery in the Netherlandish Pictorial Memory,"
1383:"Marten van Heemskerck | The Virgin and Saint John the Evangelist | NG6508.1 | National Gallery, London"
764:), the other a fragment, in the museum of Haarlem, a third of 1551 in the Brussels Museum, representing
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955:
872:
690:
667:
594:
498:
342:
709:
in Lombardy, but he never forgot his Dutch origin or the models first presented to him by Scorel and
543:
230:
757:
1759:
671:
563:
706:
628:
1257:
859:
were subsequently spread as prints. Karel van Mander devoted six pages to his biography in his
644:
440:
409:
381:
380:
He painted large altarpieces for his friend, the art maecenas and later Catholic martyr of the
345:. He was to use them as source material throughout the rest of his career. Among these are the
304:
683:
896:
578:
1034:
One or more of the preceding sentences incorporates text from a publication now in the
253:. He was the son of a farmer called Jacob Willemsz. van Veen. According to his biography by
1842:
1837:
1815:
323:
206:
100:
971:
8:
1654:
944:
van Mander, Karl; Kerrich, Thomas (translation) (1829). "The Life of Martin Heemskerck".
519:
458:
397:
122:
1659:
349:, van Heemskerck being the first known artist to make a sketch of this now famous bust.
1451:
1173:
670:, are characteristic works of the period preceding van Heemskerck's visit to Italy. An
478:
290:
1592:(Berlin/New York: Walter de Gruyter, 2008) (Transformationen der Antike, 6), 113–159.
1286:
1278:
1273:
Het Schilderboek: Het Leven Van De Doorluchtige Nederlandse En Hoogduitse Schilders.
1141:
1102:
991:"Ter eeren S. Lucas heeft hy't bedreven/Dus ghemeen ghesellen heeft hy mede bedacht."
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745:
740:
515:
483:
401:
346:
1210:
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891:
823:
Heemskerck painted this second altarpiece after he returned from Italy in 1538-40 (
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788:
502:, said to be the oldest-known imaginary reconstruction from historical descriptions
417:
254:
1357:
702:
315:
1809:
1541:
Maarten van Heemskerck. Römische Studien zwischen Sachlichkeit und Imagination.
1335:
1254:"Panorama with the Abduction of Helen Amongst the Wonders of the Ancient World"
335:
288:
for the altar of St. Luke in the Bavokerk. An inscription, incorporated into a
266:
202:
1098:
197:, was a Dutch portrait and religious painter, who spent most of his career in
1831:
1106:
1040:
1035:
943:
686:, Sweden since the Reformation, shows his style after his return from Italy.
405:
385:
242:
169:
819:
432:
1543:(München: Hirmer 2019) (Römische Studien der Bibliotheca Hertziana Bd. 44).
1358:"Loading... | Collections Online - Museum of New Zealand Te Papa Tongarewa"
748:). In 1552, he painted a view of a bull race inside the Colosseum of Rome (
694:
547:
462:
274:
133:
1660:
A catalogue of the prints which have been engraved after Martin Heemskerck
1564:(Berlin: Mann 2012) (humboldt-schriften zur kunst- und bildgeschichte, 8).
1507:
A Catalogue of the Prints which have been Engraved after Martin Heemskerck
946:
A Catalogue of the Prints which have been Engraved after Martin Heemskerck
623:
269:, learning to paint in his teacher's innovative Italian-influenced style.
62:
1689:
1253:
366:
1548:
Maarten van Heemskerck's Rome: Antiquity, Memory, and the Cult of Ruins.
1511:
Includes an English translation of van Mander's biography of Heemskerck.
1053:. Vol. 13 (11th ed.). Cambridge University Press. p. 199.
257:, he began his artistic training with the painter Cornelius Willemsz in
1644:
710:
393:
281:
33:
369:
in 1536, he settled back at Haarlem, where he became president of the
1122:
Der Blick des Pan. Cornelis Floris und die 'Heemskerck'-SkizzenbĂĽcher
881:
689:
He painted a crucifixion for the Riches Claires at Ghent (now in the
454:
413:
238:
153:
96:
71:
1590:
Wissensästhetik: Wissen über die Antike in aesthetischer Vermittlung
1632:
Maarten Van Heemskerck and Dutch Humanism in the Sixteenth Century.
1233:
Drama and Devotion: Heemskerck's "Ecce Homo" Altarpiece from Warsaw
1208:
765:
717:
143:
1620:(Charlottesville/Va., University of Virginia, Phil. Diss., 1987).
1604:
Maerten van Heemskerck, 1498 - 1574: 'constigh vermaert schilder'
915:
698:
679:
539:
258:
250:
246:
198:
118:
37:
1618:
The Paintings of Maerten van Heemskerck – a Catalogue Raisonné.
632:
436:
Maarten van Heemskerck, "Les ruines de la Casa dei Crescenzi"
173:
1650:
Works by Maarten van Heemskerck in the Rijksmuseum Amsterdam
1569:
Der 'Brutus' vom Kapitol: Ein Porträt macht Weltgeschichte.
738:). As late as 1551, he then produced a copy from Raphael's
327:
1645:
Entry on Maarten van Heemskerck in the RKD Artist database
1528:
Faszination Rom. Maarten van Heemskerck zeichnet die Stadt
1134:
827:). In this painting, the parrot is held by the baby Jesus.
265:, before moving on to Haarlem, where he became a pupil of
233:, Madrid; painted before Heemskerck left for Italy in 1532
1534:
The Allure of Rome. Maarten van Heemskerck draws the City
1162:
The Allure of Rome. Maarten van Heemskerck Draws the City
1138:
The Allure of Rome: Maarten van Heemskerck Draws the City
562:
A fanciful 16th-century interpretation of the Pharos, or
1530:. Ausst.-Kat. Berlin 2024 (MĂĽnchen, Hirmer-Verlag 2024).
1571:(München: Ed. Minerva, 2010) (exh.-cat. Berlin), 81–89.
1557:, (Paris: Institut national d'histoire de l'art, 2015).
657:
St. Luke painting the Likeness of the Virgin and Child
720:, the remains of which are today divided between the
716:
In 1550, Heemskerck painted a large, now dismembered
1070:. New York: Metropolitan Museum of Art. p. 133.
1522:
Maarten van Heemskerck. Das römische Zeichnungsbuch
1562:Rom zeichnen. Maarten van Heemskerck 1532–1536/37.
960:The Lives of the Netherlandish and German Painters
912:Museo Municipal de Bellas Artes Juan B. Castagnino
1829:
1164:, Exh.-Cat. Berlin 2024, Munich 2024,pp. 99–127.
330:as a triumphal arch (5 April 1536) in honour of
1606:(Heemskerk: Historische Kring Heemskerk, 1998).
1597:Zentren und Wirkungsräume der Antikenrezeption.
1087:21: Inquiries into Art, History, and the Visual
193:; 1 June 1498 – 1 October 1574), also known as
1536:. Exh.-Cat. Berlin 2024 (Munich, Hirmer 2024).
1705:
1674:Pieter Bruegel the Elder: Drawings and Prints
444:Maarten van Heemskerck, "Rome, the Colosseum"
1719:
1712:
1698:
1269:
1267:
1119:
1080:
482:, imagined in a 16th-century engraving by
408:, where he served for 22 years (until the
1209:AdSummus, for Art History with Michelli.
1062:
1060:
1022:
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1018:
939:
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1124:. 2 vol. Reimer Verlag - Edition Imorde.
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818:
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638:
622:
439:
431:
221:
1602:Erik Zevenhuizen - Piet de Boer (ed.),
1504:
1264:
887:Museum of New Zealand Te Papa Tongarewa
627:Detail of Ecce Homo Altarpiece (1544),
448:
420:which the Spaniards laid to the place.
284:in 1532, Heemskerck painted a scene of
14:
1830:
1630:Ilja Veldman (Michael Hoyle, trans.),
1560:Tatjana Bartsch - Peter Seiler (ed.),
1057:
928:
650:Many works by van Heemskerck survive.
237:Heemskerck was born in the village of
68:Self-portrait detail from his painting
1693:
995:
866:
550:in 1572, from a drawing by Heemskerck
526:churches of the mannerist generation.
461:in the centre. They were engraved by
1625:Maerten van Heemskerck. Die Gemälde.
1599:(Münster: Scriptorium, 2007), 27–38.
1583:Nederlands Kunsthistorisch Jaerboek.
1524:. (Berlin, Hatje Cantz Verlag 2024).
907:University of Michigan Museum of Art
1681:Prints after Maarten van Heemskerck
1081:ThĂĽrlemann, Felix (28 April 2021).
958:; a more modern translation is in
24:
1768:Adam and Eve/Gideon and the Fleece
1655:Literature on Marten van Heemskerk
1515:
1432:. Musées de la ville de Strasbourg
1229:"Heemskerck's Style and Technique"
902:Musée des Beaux-Arts de Strasbourg
727:Adam and Eve/Gideon and the Fleece
722:Musée des Beaux-Arts de Strasbourg
518:, has the "old-fashioned" look of
404:. In 1553 he became curate of the
280:Before setting off for Italy on a
25:
1889:
1638:
950:. Translated from a biography in
320:Francesco de' Rossi (Il Salviati)
195:Marten Jacobsz Heemskerk van Veen
1784:Self-portrait with the Colosseum
1634:(Maarssen: Gary Schwartz, 1977).
1196:"The eight wonders of the world"
1027:
954:, Haarlem, 2020 (available as a
701:at Rome, and in the frescoes of
611:self-portrait with the Colosseum
602:
586:
570:
555:
531:
507:
490:
470:
61:
1616:Jefferson Cabell Harrison Jr.,
1469:
1444:
1418:
1400:
1375:
1350:
1328:"Museum Boijmans Van Beuningen"
1320:
1295:
1246:
1221:
1202:
1188:
1179:
1167:
956:Dutch online text from the DBNL
593:Fanciful interpretation of the
412:). In 1572 he left Haarlem for
360:
312:Antonio da Sangallo the Younger
1744:Saint Luke Painting the Virgin
1685:Dresden's Kupferstich-Kabinett
1430:musees-strasbourg.skin-web.org
1307:The Courtauld Institute of Art
1154:
1128:
1113:
1074:
984:
965:
834:Saint Luke painting the Virgin
750:Palais des Beaux-Arts de Lille
522:in Florence and other Italian
13:
1:
921:
878:Museum Boijmans Van Beuningen
853:
732:Museum Boijmans Van Beuningen
538:A fanciful reconstruction of
423:
217:
1666:Vermeer and The Delft School
1576:Intellectual History Review,
1553:Marco Folin - Monica Preti,
1452:"Exchange: The Resurrection"
1303:"Heemskerck, Mary Magdalene"
825:Musée des Beaux-Arts, Rennes
762:St. Luke painting the Virgin
668:Museum of Fine Arts in Ghent
618:
286:St. Luke painting the Virgin
212:
7:
371:Haarlem Guild of Saint Luke
322:on the redecoration of the
227:Portrait of a Lady spinning
10:
1894:
1853:Artists from North Holland
1776:Christ Crowned with Thorns
1627:(Berlin: Boettcher, 1980).
1578:20, 2010 - Issue 1, 27–51.
1498:
1387:www.nationalgallery.org.uk
1362:collections.tepapa.govt.nz
1120:ThĂĽrlemann, Felix (2024).
873:Courtauld Institute of Art
841:and is no longer visible.
802:
691:Museum of Fine Arts, Ghent
595:Mausoleum of Halicarnassus
499:Hanging Gardens of Babylon
343:Kupferstichkabinett Berlin
31:
1802:
1727:
1099:10.11588/xxi.2021.1.79015
1045:Heemskerk, Martin Jacobsz
962:, H. Miedema, ed. 1994–9)
544:Statue of Zeus at Olympia
231:Thyssen-Bornemisza Museum
180:
163:
159:
149:
139:
129:
107:
78:
60:
53:
27:Dutch painter (1498–1574)
1858:Dutch Mannerist painters
1505:Kerrich, Thomas (1829).
1211:"Hanging Gardens—Images"
892:National Gallery, London
844:
564:Lighthouse of Alexandria
465:and published in 1572.
298:
191:Maerten Jacobsz van Veen
83:Maerten Jacobsz van Veen
1868:Dutch portrait painters
1611:Maarten van Heemskerck.
1456:exchange.umma.umich.edu
1426:"Heemskerck – peinture"
1050:Encyclopædia Britannica
1721:Maarten van Heemskerck
1408:"Search - Rijksmuseum"
1258:The Walters Art Museum
828:
816:
758:Gemäldegalerie, Berlin
647:
645:The Walters Art Museum
636:
445:
437:
410:Protestant reformation
382:Protestant Reformation
305:William of Enckenvoirt
234:
187:Maarten van Heemskerck
55:Maarten van Heemskerck
1878:Dutch Roman Catholics
1873:Painters from Haarlem
1848:People from Heemskerk
1752:Lamentation of Christ
1550:(Leiden: Brill 2019).
1509:. London: J. Rodwell.
948:. London: J. Rodwell.
897:Rijksmuseum Amsterdam
822:
813:this first altarpiece
810:
756:, dated 1561, in the
642:
626:
579:Great Pyramid of Giza
443:
435:
365:On his return to the
225:
18:Martin van Heemskerck
1816:Wonders of the World
1585:59(1), 2009, 90-108.
1277:, with notes, 1995.
831:In his depiction of
581:(Bettman collection)
449:Wonders of the World
324:Porta San Sebastiano
207:Wonders of the World
201:. He was a pupil of
101:Habsburg Netherlands
1863:Dutch male painters
1623:Rainald Grosshans,
1546:Arthur J. DiFuria,
1481:castagninomacro.org
1185:Kerrich 1829, p.105
972:retrieved July 2009
811:Heemskerck painted
797:Triumphs of Silenus
778:Christ on the Mount
684:Linköping Cathedral
676:St. Laurence Church
520:Santa Maria Novella
398:Nieuwe Kerk (Delft)
172:, Haarlem council,
123:Spanish Netherlands
952:Het Schilder-boeck
867:Public collections
839:the first painting
829:
817:
648:
637:
479:Colossus of Rhodes
446:
438:
245:, halfway between
235:
1825:
1824:
1792:Portrait of a Man
1539:Tatjana Bartsch,
1291:978-90-284-1678-9
1198:. British Museum.
1147:978-3-7774-4344-7
980:978-90-6550-186-8
774:Flight into Egypt
754:Judgment of Momus
746:Frans Hals Museum
741:Madonna of Loreto
674:executed for the
516:Temple of Artemis
484:Martin Heemskerck
402:Guild of St. Luke
347:Capitoline Brutus
184:
183:
16:(Redirected from
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1334:. Archived from
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1318:
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1293:
1275:Carel van Mander
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1760:Crucifixion
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1342:1 September
1332:boijmans.nl
785:Crucifixion
783:There is a
770:Crucifixion
730:), and the
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367:Netherlands
130:Nationality
93:1 June 1498
1832:Categories
1215:plinia.net
922:References
854:Reputation
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424:Engravings
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282:Grand Tour
263:Jan Lucasz
218:Early life
140:Occupation
89:1498-06-01
46:Hermskerck
34:Dutch name
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882:Rotterdam
663:Ecce Homo
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455:Colosseum
414:Amsterdam
332:Charles V
239:Heemskerk
213:Biography
165:Patron(s)
154:Mannerism
97:Heemskerk
72:Colosseum
1812:(master)
1461:22 April
1392:22 April
1367:22 April
1312:22 April
766:Golgotha
718:triptych
150:Movement
32:In this
1803:Related
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1238:23 July
1038::
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803:Parrots
787:in the
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680:Alkmaar
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540:Phidias
459:Jupiter
259:Haarlem
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247:Alkmaar
199:Haarlem
176:council
144:Painter
119:Haarlem
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390:Musius
189:(born
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299:Italy
174:Delft
134:Dutch
1488:2022
1463:2021
1438:2023
1394:2021
1369:2021
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1142:ISBN
1103:ISSN
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705:and
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328:Rome
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