Nicolas Neufchatel

Nicolas Neufchatel (. Well de Neufchatel, Neuf- chateau, the Nutschatell, Dutch Colijn van Nieucasteel called Lucidel; * 1525 or 1527 in the County of Bergen ( Mons Hainaut ); † after 1573) was a Dutch portrait painter.

Life

Neufchatel was a pupil of Pieter Coecke 1539 van Aelst in Antwerp. It has been suggested that he returned in the following years to Bergen or acted at Malines and Brussels. As a convinced Calvinist, he seems to have left the Netherlands after the beginning of the reign of Philip II ( 1556 ). Maybe after temporary stays in Friesland or Frankfurt he came to Nuremberg, where he received asylum in 1561 and has established itself as a respected portraitist of the Nuremberg patrician class and became well known beyond Nuremberg. Probably during the Augsburg Diet ( 1566) was Maximilian II himself and his daughter three times portray him and paid him 100 Rhenish guilders. On July 23, 1567, he was booked along with several others from the Nuremberg council on suspicion of ' Calvinist schwermerei ' and because ' disputirn ", which is also the last archival evidence of his person. In Nuremberg, he should also have painted his portrait in 1573 yet the sculptor Johann Gregor van der Schardt, then lose track of him.

From Neufchatel around 40 portraits are known, all of which date from the time of its inclusion in Nuremberg to 1573.

Portrait of Johann the Elder Neudörffers

At the beginning of his known oeuvre is the image of Johann Neudörffer the Elder (1497-1563) with a student that is committed to the Dutch tradition of portraiture. Neudörffer and a student sitting at a green table setting. Contrary to popular belief, it can be shown at the boy rather not have to be the son Neudörffers because it was already 18 years old at the time of the creation of the image. From the image to be recognized in the dodecahedron of the master decreases the extent and this dictates the boy. The circumferential inscription on the frame note the name of the painter and refers to the merits of the scholars.

The portrait was a gift from Neufchatel the Nuremberg council because he wanted to thank this for inclusion in the city. This is also shown in the inscription of the cream. In return Neufchatel received, according to a Council relied on November 7, 1564 by the Council for 32 guilders. Since the portrait was inducted into the Council of the Nuremberg of the important men of the city collection, it is conceivable that the portrait was commissioned by the city.

From this painting, there is a later copy in Lille and limited to the reproduction Neudörfers painted study in the St. Petersburg Hermitage. Probably the representation of Jost Amman is based in a woodcut on this painting.