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280:(Olive Branch) commissioned Willem van Nieulandt to assist with the restoration of their meeting room and performance area. It paid him for a painting of the Virgin Mary and the renewal of its blazon. By the winter of 1615, he had finished his restoration work. On 25 September of the same year, together with Joan David Heemsen, he took the oath as an elder (hoofdman) of the resurrected chamber of rhetoric, and in November the performances of two of his tragedies,
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175:, possibly because they were Protestants or simply for economic reasons as Antwerp was suffering the effects of the ongoing war with Holland. Another brother called Jacob van Nieulandt was born in 1593/94 in Amsterdam where he became an art dealer, painter, innkeeper and draftsperson. Father van Nieulandt became a
291:
On 22 May 1629 he witnessed in
Antwerp the baptism of the first child of his daughter Constantia. At some unknown time after this date he returned to Amsterdam where he published his final tragedy in 1635, which he had written in the two years before he left Antwerp. He executed a will on 24 October
237:
He returned to the Low
Countries in 1604 first residing in Amsterdam. On 11 February 1606 the 22-year-old Willem married in Amsterdam Anna Hustaert (or Huystaert) who was a native of Antwerp but had grown up in Amsterdam. Willem had ostensibly returned to the Roman Catholic faith during his Roman
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He created landscape paintings of views in and around Rome, most of them capricci of Roman buildings and ruins, often including a biblical or mythological scene or shepherds and travellers. He had made many sketches of Rome and its surroundings which he used during the rest of his career as
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of
Antwerp as the son of a master. He took in the same year an apprentice by the name of Peerken Hermans. On 13 April 1606 he became a citizen of Antwerp. His son Adriaen was born in 1607. On 26 February 1611 his daughter Constancia or Constantia was baptized in the church which is now
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backdrops for his paintings and prints. While his drawings were detailed and topographically accurate, his paintings usually consisted of fanciful capricci of Rome's architectural heritage often placing familiar monuments next to invented structures in imaginary landscapes.
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moralist principles which were then very popular among
Antwerp's humanist elites. The action in the tragedies was dominated by extreme scenes of horror, including gruesome murders and mutilations. The protagonists were constantly driven by extreme emotions.
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sojourn, but the bans for his marriage in
Amsterdam were published in the Reformed Church, casting some doubt on the sincerity of his conversion. The couple settled in Antwerp. In the guild year 1605-1606 he was admitted as a master painter in the
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As his recurrent signature on paintings was ' G. v. Nieulant' it can be deduced that the correct form of his name is probably
Guilliam van Nieulant. He signed his will with ' Giu. v. Nieulandt'. On his literary works he called himself 'van
171:(born in 1586 in Antwerp) became a decorative painter of interiors, print artist, art dealer, appraiser, painter and draftsperson and was mainly active in Amsterdam. The van Nielandt family moved to Amsterdam in 1589, after the
200:, another Flemish émigré living in Amsterdam known for his landscapes, still lifes and animal paintings. Contemporary art historians have argued that he was not the pupil of Roelant Savery, but of his brother
315:
He was a prolific printmaker who created many etchings of Roman ruins and
Italian landscapes that were published in Antwerp under his supervision. Some of them were carved after drawings of the brothers
216:, a prominent Flemish landscape painter. In the years 1602 and 1603 he lived with his uncle Guilliam van Nieulandt I in the Via Paulina, now Via del Babuino, in the same house where the Antwerp painter
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of landscapes and buildings from in or around Rome enlivened by contemporary figures or biblical or mythological scenes. He is regarded as the principal poet and playwright active in the
424:
1012:
640:
Bredius, Abraham , KĂĽnstlerinventare: Urkunden zur
Geschichte der holländischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts (Band 1), The Hage, 1915, pp. 177, 183-185
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moralism. The tragedies were driven by extreme scenes of horror, including gruesome murders and mutilations. The protagonists were constantly affected by extreme emotions.
159:
He was born in
Antwerp in 1582 or 1584 as the son of Adriaen van Nieulandt the elder (died 1603) and Geertruyd Loyson (died ca. 1627). His father was a merchant dealing in
167:
of
Antwerp in 1573. His family included a number of artists such as his uncle Guilliam or Willem van Nieulandt (I) who was a painter and draftsperson. His younger brother
276:, which established a temporary reprieve from the Eighty Years' War from 1609 to 1621, allowed for their revival. It is likely that the Antwerp chamber of rhetoric
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212:. In 1601 he travelled to Rome, where he worked from 1601 to 1603 in the workshop of his uncle Guilliam van Nieulandt I and later in the workshop of
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from 1621 to 1629. His tragedies followed the classical type of tragedies introduced by the Ancient dramatist Seneca and were imbued with the
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from 1621 to 1629. His tragedies followed the classical type of tragedies introduced by the Ancient dramatist Seneca and were imbued with
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1635 while he was sick in bed in his home in Amsterdam. He signed the will with ' Giu. v. Nieulandt'. Shortly thereafter he died.
224:, he specialized in Rome in painting artistic ruins of monuments, arches, and temples, many of which he then engraved himself.
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288:, written shortly afterwards, began. He was very successful with these plays which helped revive the Antwerp theatre scene.
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Saint Peter’s Square, Rome, with the annual Corpus Christi procession taking place, and Cannons firing a Salute
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Eric Jan Sluijter, Career choices of migrant artists between Amsterdam and Antwerp. The Van Nieulandt brothers
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In May 1620 he won the prize for best poem at a rhetoric competition in Mechelen, writing under the pen name
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In May 1620 he won the prize for best poem at a rhetoric competition in Mechelen, writing under the pen name
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Ph. Rombouts and Th. van Lerius, De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Van Nieulandt was better known as a poet and playwright than as a painter. He was a member of the Antwerp
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Van Nieulandt was better known as a poet and playwright than as a painter. He was a member of the Antwerp
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also reproduced some of his etchings in Amsterdam. This helped spread his work in the Dutch Republic.
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De dichter Guilliam van Nieuwelandt en de Senecaans-Classieke Tragedie in de Zuidelijke Nederlanden
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De dichter Guilliam van Nieuwelandt en de Senecaans-Classieke Tragedie in de Zuidelijke Nederlanden
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and his own drawings. One series of 10 etchings of Roman ruins were copied and published by
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Roman capriccio with the Septizodium, the Tomb of Porsenna and the Temple of Vesta
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River landscape with classical ruins, shepherds and shepherdesses and their flock
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131:(1582/84–1635) was a Flemish painter, engraver, poet and playwright from
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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Geschiedenis van de Antwerpse rederijkerskamers in de jaren 1585–1635
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Geschiedenis van de Antwerpse rederijkerskamers in de jaren 1585–1635
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Willem van Nieulandt the Younger (Antwerp 1585 - ?1635 Amsterdam),
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272:(rederijkerskamers) which staged theatre plays in the city. The
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as was his grandfather who was also admitted as a master of the
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417:(Serve your All). In May 1624 the Violieren produced his play
382:(Serve your All). In May 1624 the Violieren produced his play
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of Amsterdam in 1594, which shows that he was of good means.
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402:(Olive Branch) from 1613 to 1621, transferring to the rival
366:(Olive Branch) from 1613 to 1621, transferring to the rival
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Dramatists and playwrights from the Holy Roman Empire
758:, De Nieuwe Taalgids. Jaargang 54 (1961), pp. 193-197
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and was a well regarded poet and still life painter.
386:(a tragedy on the theme of Anthony and Cleopatra).
421:(a tragedy on the theme of Anthony and Cleopatra).
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engraved by van Nieulandt after design by Paul Bril
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151:in the first three decades of the 17th century.
16:Flemish painter, printmaker, playwright and poet
907:A. Keersmaekers, "Nieuwelandt, Guilliam van",
820:A. Keersmaekers, "Nieuwelandt, Guilliam van",
728:Volume 1, Antwerp, 1864, p. 425, 430, 434, 506
605:, De Zeventiende Eeuw 31 (2015) 1, pp. 101-137
1033:17th-century Dutch dramatists and playwrights
247:. She later married the still life painter
925:De schadt-kiste der philosophen ende poeten
838:De schadt-kiste der philosophen ende poeten
492:Jerusalems Verwoestingh door Nabuchodonosor
135:. He spent two thirds of his career in the
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192:According to the early biographer
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872:, "Guillaume van Nieuwelandt",
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514:Museum of Fine Arts (Budapest)
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755:over Guilliam van Nieuwelandt
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72:1635 (aged 50–51)
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701:Guiliam Nieulandt biography
626:Guilliam van Nieulandt (II)
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204:, an artist specialised in
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993:Flemish landscape painters
653:Guilliam van Nieulandt (I)
35:Guilliam van Nieulandt in
967:Willem van Nieulandt (II)
882:(Brussels, 1899), 718–722
795:(Brussels, 1899), 718–722
550:Royal Museum of Fine Arts
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305:View of a port with ships
232:Jacob Returning to Canaan
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947:(Aalst, 1952), p. 56.
860:(Aalst, 1952), p. 56.
773:at Johnny van Haeften
668:Adriaen van Nieulandt
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330:Claes Jansz. Visscher
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259:Adoration of the Magi
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969:at Wikimedia Commons
943:A. A. Keersmaekers,
856:A. A. Keersmaekers,
557:Notes and references
523:Norton Museum of Art
480:Sophonisba Aphricana
443:Poëma van den Mensch
430:Sophonisba Aphricana
270:chambers of rhetoric
264:The violence of the
149:Habsburg Netherlands
137:Habsburg Netherlands
125:Willem van Nieulandt
683:Jacob van Nieulandt
396:chamber of rhetoric
360:chamber of rhetoric
274:Twelve Years' Truce
249:Adriaen van Utrecht
240:Guild of Saint Luke
165:Guild of Saint Luke
499:Public collections
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42:Het Gulden Cabinet
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892:A.A. Keersmaekers
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266:Eighty Years' War
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927:(Mechelen,
840:(Mechelen,
642:(in German)
541:Rijksmuseum
206:still lifes
103:stage plays
83:Nationality
977:Categories
929:Henry Jaye
870:Max Rooses
842:Henry Jaye
783:Max Rooses
712:(in Dutch)
707:(1718) by
931:, 1621),
844:, 1621),
552:, Antwerp
545:Amsterdam
474:Aegyptica
419:Aegyptica
408:neo-stoic
404:Violieren
384:Aegyptica
372:neo-stoic
368:Violieren
322:Paul Bril
214:Paul Bril
155:Biography
76:Amsterdam
518:Budapest
400:Olyftack
364:Olyftack
296:Artworks
278:Olyftack
145:capricci
121:Guilliam
109:Movement
95:Painting
923:, ed.,
880:vol. 15
836:, ed.,
793:vol. 15
740:at the
685:at the
670:at the
655:at the
628:at the
486:Salomon
177:poorter
133:Antwerp
113:Baroque
86:Flemish
62:Antwerp
933:p. LXX
846:p. LXX
536:Moscow
494:(1635)
488:(1628)
476:(1624)
470:(1618)
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458:(1617)
445:(1621)
437:Poetry
432:, 1639
161:quills
99:poetry
509:Tours
456:Livia
450:Drama
282:Livia
462:Saul
398:the
362:the
336:and
320:and
286:Saul
69:Died
58:1584
51:Born
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