Dieric Bouts

Dieric Bouts (* 1410-1420 in Haarlem; † 6 May 1475 in Leuven ), formerly erroneously called Stuerbout, Dirk or Dieric, was a Dutch painter. He is the father of Dieric Bouts the Younger and Aelbert Bouts, who also achieved fame as a painter. In addition to his religious paintings, he was appreciated for his portraiture and was regarded as one of the leading painters of his time.

Life

Dieric Bouts life is not well documented. Many data until the 1450 years are to be determined only by style comparisons of images and painters. The strong influence of Rogier van der Weyden makes it appear likely that Bouts about 1440 was his pupil. In Bouts ' images, familiarity with the works of Jan van Eyck and Aelbert van Ouwater can be seen.

About 1445 married Bouts the rich patrician daughter Catharina van der Brugghen from lions. From this marriage came four children. The two sons Dieric Bouts the Younger and Aelbert Bouts were respected painter.

Documented Bouts is detectable in Leuven until 1457. He was in 1465 appointed city painter. Among the best known and most detailed documents of the contract for the fabrication of the Last Supper altarpiece for the Confraternity of the Blessed Sacrament belongs.

As records show, Bouts was a very wealthy citizens. In 1467 he was designated as an important representative of the city. After his wife's death he married a second time shortly before his death in 1475.

Major works

  • Marie Altar ( 1445, Madrid, Prado )
  • Passion Altar ( 1455, Granada, Museo de la Capilla Real)
  • Crucifixion altar (around 1450-60; Brussels, Musées Royaux des Beaux-Arts, Malibu, J. Paul Getty Museum, National Gallery, London, Pasadena, Norton Simon Museum )
  • Portrait of a Man ( 1462; London, National Gallery )
  • Ecce Agnus Dei (c. 1462-64; Munich, Alte Pinakothek )
  • Pearl of Brabant ( 1460 '; assignment not sure; Munich, Alte Pinakothek )
  • Madonna and Child ( about 1465; London, National Gallery )
  • Triptych with the Martyrdom of Saint Erasmus ( 1450-60; Leuven, Sint- Pieterskerk, Museum voor Kerkelijke Art
  • Supper Altar ( 1467, Leuven, Sint- Pieterskerk, Museum voor Kerkelijke Art)
  • The Road to Paradise (by 1468, Lille, Musée Municipale )
  • Paradise and Hell ( 1470, Paris, Louvre)
  • Justice photos (unfinished, 1473 and 1475; Brussels, Musées Royaux des Beaux-Arts )

Effect

Style brought comparisons Carl Georg Heise to the conclusion that the native of Westphalia painter Hinrik Funhof 've learned in Bouts ' workshop. The originating from Funhof panels of the high altar of St. John's Church in Lüneburg (1482-1484) are among the major works of Lower Saxony paintings of the second half of the 15th century and show the stylistic influence of Bouts. For the assignment Funhofs as an employee in Bouts ' workshop Heise led to the first-time documentary mention Funhofs in 1475, the year of Bouts.

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