Caspar de Crayer

Gaspar de Crayer (also: Jaspar, Gaspard or Caspar de Crayer; born November 18, 1584 Antwerp, † January 27, 1669 in Ghent ) was a Dutch painter.

Life and work

Gaspar de Crayer was the son of his father's eponymous Gaspard I de Crayer and Christine van Abshoven († 1592), his cousin, Ferdinand van Apshoven the Elder. The father worked as an art dealer, lighting and decorative painter. In the records of the Guild of Saint Luke it is 1587 and registered in 1589 as a teacher and in the years 1608 and 1621 as dean.

Caspar de Crayer received his education in the school of Raphael van Coxcie (1540 Mechelen - Brussels 1616 ), the son of Michiel Coxcie. Contemporary playback of Akt and robed figures he was taught based on Italian Renaissance art. After Crayer had received the Master of freedom on November 3, 1607, he entered in 1607 in the Brussels painters' guild and trained since 1610 themselves apprentices. The survey in the master rank is the first mention of this artist.

From 1612 he was in the service of the Archduke Albert VII of Habsburg, for which he repeatedly ankaufte art. He then worked at the court of Isabella Clara Eugenia of Spain as noble archer. In the years 1614/15 and 1615/16 him the deanery dignity granted by the Brussels painters' guild. From 1620 to the 1630s he was finally in the service of his patron and benefactor Jacobus Boonen, Archbishop of Malines. It resulted in several works commissioned by the Abbey Affligem. Crayers Portrait of Archbishop Boonen has been handed down in the engraving by Paul Pontius. Meanwhile Crayer held in the years 1626/27, the office of a councilor in Brussels.

From 1635 Crayer worked in Ghent and created the series of six images as decoration for the collection of the Infante. After Isabella's death was carried out by Ferdinand of Spain, the Cardinal Archbishop of Toledo and son of King Philip III. of Spain, Crayers appointment as court painter, so he was free of all taxes. This position at court was confirmed to him by Ferdinand death of Philip IV of Spain and the new governor of the Spanish Netherlands, Archduke Leopold William of Austria, renewed. The new client preferred by Crayer images in religious themes, which have emerged in the period following many works in the sign of the Counter-Reformation religious art. Around 1640 he completed for Philip IV the works of Peter Paul Rubens.

Gaspar de Crayer since 1613 was married to Catharina Janssens van Antwerpenerin Duveland. Crayer died on January 27, 1669, leaving no descendants.

Crayers oeuvre includes hundreds of altarpieces, a few profane subjects and portraits. He has painted a lot in large- scale, and the churches of Ghent show many of his paintings. Pictures of him can be found in Antwerp, Munich, Amberg and elsewhere.

Style

Crayers early work is inspired in Romance matic tradition in design and composition of Marten de Vos and Hendrik de Clerck. It shows itself in his works completely by its respective role models, especially Rubens dependent, but remains in the color that falls into the Cooler and Violet with him, and the liveliness of composition behind that back. The Solomonic judgment, the Assumption of Mary and the Pietà by Crayer result from the same subject by Rubens treatment. More Images borrowed from Rubens to suggest a personal contact the artist. In Afflingen example, Rubens and Crayer were active at the same time. Rubens painted the Cross for the high altar, which was removed after his death, while Crayers plant obtained according to the disposition of the client remained.

In the years 1627 and 1632 portrayed him Anthonis van Dyck ( length portrait in Vienna, Liechtenstein collection; grisaille in the collection of the Duke of Buccleuch ), and this portrait was the subject of some stitches. The self-portrait of Crayer is located in the gallery Schleißheim. Crayers narrower physiognomies and the opening of the background of his portraits resulting from the works of Van Dyck. After 1640, the Venetian fashion with revelry and splendor in his works is felt. Harmony of the group composition and the colors are evident. After 1644 his compositions are more dynamic. Grey and yellow tones without strong light contrasts with exaggerated sentimentality, superficial gestures and copies of his own types now characterize his works.

To his workshop operation was Jan van Cleve, which Crayers works retouched and partially completed. The landscapes in his paintings come at times of Jacques d' Artois and Lucas de Vadder, the animal representations of Pieter Boel. It is questionable whether Jan Boeckhorst was a member of Crayers workshop during his time in Brussels. Despite piecework and small inventors spirit Crayers compositions are considered to be excellent.

Drawings

The drawings to his paintings testify to the working method of Crayer and his workshop. Due to the short, non-continuous brushwork his modelli have the character of a sketch. The Repititionen his paintings and other artists he drew in brown, gray or red - brown ink on a black chalky sketch. Presumably they were used in workshops as templates for painting replicas. Numerous studies chalk as a portrait preparation have been handed down and Crayer attributed.

Caspar Crayer applies besides Rubens and van Dyck as one of the most important Flemish painters saints. The Vienna Collection of the Habsburg dynasty and the gallery of Louis XVI. in Versailles acquired as a result of secularization Crayers paintings.

Places of his works (selection)

  • Aachen: Holy Cross Church in Pontviertel: Holy Family ( Ölgemalde )
  • Amiens: Musée de Picardie ( male portrait )
  • Amsterdam: Rijksmuseum Cross
  • Bamberg: New Residence
  • Berlin Gemäldegalerie: Christ at Emmaus, oil on canvas
  • Boston: Boston College, McMullen Museum of Art Equestrian Portrait of Don Gaspar de Guzman, canvas, 1627/28
  • Braunschweig: Herzog Anton Ulrich- Museum
  • Brussels: Royal Museums of Fine Arts: (16 church plants) John Triptych, wood; Pietà of Henry van Donghelberghe, Wood, 1627; Mary worshiped with child of the Holy, canvas, 1639-40; St. Catherine: Ascension of St. Catherine, screen
  • Darmstadt: Hessian State Museum
  • Florence: Uffizi, ( Holy Family; Philip IV () portrait? )
  • Ghent: Museum voor Schone Kunsten: 12 paintings; Since Solomon's judgment, canvas; Mary worshiped with child of the Holy, pen drawing on Bister; Coronation of St. Rosalia, canvas; Musée de la Byloke: Portrait of the Bishop of Ghent, Antonius Triest, canvas, 1634/35
  • Grenoble: Musée de Grenoble: The Martyrdom of St. Catherine, canvas, before 1622
  • Cologne: Wallraf -Richartz- Museum & Fondation Corboud: Alexander the Great and Diogenes, screen
  • Kortrijk: St. Martin Adoration of the Magi Canvas
  • Lille: Musée des Beaux -Arts: Equestrian statue Johann III. of Nassau- Siegen, red chalk on paper
  • London: Courtauld Institute of Art: The Triumph of Scipio Africanus, oil sketch / Wood
  • Madrid: Museo del Prado, Portrait of Cardinal Infante, canvas, 1639; Palacio de Liria: Equestrian portrait of Cardinal Infante Ferdinand, canvas; Palacio de Viana: Portrait of Philip IV, canvas, 1627-28
  • Munich: Alte Pinakothek: Mary worshiped with child of the Holy, screen, Theatinerkirche: Mary worshiped with child of the Holy, canvas, 1646
  • New York City: Metropolitan Museum: Philip IV attributed to the end of the 1620s
  • Paris: Louvre, Christ on the Cross with Mary Magdalene and St. Francis, according to van Dyck; Madonna and Child surrounded by saints canvas
  • Prague: National Gallery
  • Rennes: Musée des Beaux -Arts: Raising of the Cross, canvas, after 1631, inspired by van Dyck's Raising of the Cross, 1631, Notre Dame, Courtrai
  • Stockholm: Swedish National Museum: Empress Anne, portrait, canvas, 1611-18
  • St. Omer Cathedral
  • Toulouse Musee des Augustins: Job's complaint, canvas, 1619
  • Vienna: Kunsthistorisches Museum: Equestrian Portrait of Don Diego Messia Felipe de Guzman, canvas, Ecce Homo, screen, until 1659, Lamentation, canvas, before 1659, Mary worshiped with child of the Holy, canvas, 1638

Works (selection)

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