Peintre joachim wtewael biography

Joachim Anthoniszoon Wtewael also known as Uytewael was a Dutch Mannerist painter and draughtsman, as well as a highly successful flax merchant, and town.
Joachim Anthoniszoon Wtewael, also known as Uytewael, was a Dutch Mannerist painter and draughtsman, as well as a highly successful flax merchant, and town councillor of Utrecht.
Wtewael was one of the few Dutch artists who did not abandon mannerism after the early 1600s, and his oeuvre demonstrates no clear stylistic evolution.

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A painter and draughtsman, Wtewael is considered one of the leading artists of the Dutch Mannerist school. According to his contemporary Van Mander, he trained in the studio of his father, a Utrecht stained-glass master. He then travelled around France and Italy for four years in the company of his patron, Charles de Bourgneuf de Cucé, Bishop of Saint-Malo. Dating from this period is The Apotheosis of Venus and Diana (private collection), a work that reveals the artist’s familiarity with the style of Parmigianino and the School of Fontainebleau. In 1592Wtewael returned to Utrecht where he is registered as a painter in the painters’ guild. His early works reflect the late Mannerism of Goltzius, Cornelis Cornelisz. van Haarlem and his mentor Karel van Mander. In The Flood (Germanisches Museum, Nuremberg) Wtewael used the same exaggerated, muscular bodies to be found in Goltzius’ series of prints on The Disgracers, while his first signed and dated work, The Parnassus (lost), was a small painting on copper based on Goltzius’ drawing The Judgement of Midas (Pierpont Morgan Li

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Joachim Wtewael

Dutch painter and draughtsman (1566–1638)

Joachim Anthoniszoon Wtewael (Dutch pronunciation:[ˈjoːaːxɪmˈyːtəʋaːl]; 1566 – 1 August 1638), also known as Uytewael (pronounced[ˈœytəʋaːl]), was a Dutch Mannerist painter and draughtsman, as well as a highly successful flax merchant, and town councillor of Utrecht. Wtewael was one of the leading Dutch exponents of Northern Mannerism, and his distinctive and attractive style remained largely untouched by the naturalistic developments happening around him, "characterized by masterfully drawn, highly polished figures often set in capricious poses".^[3] Wtewael was trained in the style of late 16th-century Haarlem Mannerism and remained essentially faithful to it, despite painting well into the early period of Dutch Golden Age painting.^[4]

Altogether he has left about a hundred paintings,^[5] as well as drawings and some stained glass he designed. He painted a mixture of large paintings on canvas, and tiny cabinet paintings on copper plates, the latter the more

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Joachim Wtewael: Myths, Monsters, and Mannerism

The astonishing art of Joachim Wtewael, full of wild imagination, shows a little-seen side of 17th-century Dutch painting.

Joachim Anthonisz Wtewael, Lot and His Daughters, circa 1597–1600, oil on canvas, 64 x 81 inches.

Featured Images:(Click to Enlarge)

: Joachim Anthonisz Wtewael, Lot and His Daughters, circa 1597–1600, oil on canvas, 64 x 81 inches.

: Joachim Anthonisz Wtewael, The Wedding of Peleus and Thetis, 1602, oil on copper, 12 1⁄2 x 17 inches.

: Joachim Anthonisz Wtewael, Self-Portrait, 1601, oil on panel, 38 1⁄2 x 29 inches;

: Joachim Anthonisz Wtewael, The Apulian Shepherd, circa 1600–05, oil on copper, 6 x 8 inches.

: Joachim Anthonisz Wtewael, Mars and Venus Surprised by Vulcan, 1604–08, oil on copper, 8 x 6 inches;

When we think of Dutch Golden Age painting, we automatically envision homey scenes of everyday life, sumptuous arrangements of foodstuffs and flowers, or portraits of respectable burghers, all rendered with close att