亨德里克 Hendrick ter Brugghen

亨德里克 Hendrick ter Brugghen（1588年——1629年11月1日），荷兰画家。

中文名亨德里克
外文名Hendrick ter Brugghen
性别男
国籍荷兰
出生地海牙
出生日期1588年
逝世日期1629年11月1日
职业画家

传

他一生中写泰尔Brugghen没有引用已经确定。他的父亲扬Egbertsz之三Brugghen，最初是从上艾瑟尔省，搬到了乌得勒支，在那里他被奥兰治亲王，委书记乌得勒支法院威廉无语。他已经结婚索菲亚Dircx。1588年，他成为法警荷兰省议会在海牙，亨德里克在那里出生。

最早简要提及画家是的Het荷兰盾内阁的（1661）科内利斯德憋，在那里，他被错误地称为Verbrugghen。另一个短帐户在发现Teutsche琪（1675）由约阿希姆·冯·Sandrart，其中他被称为Verbrug。在这里，我们得知他与亚伯拉罕BLOEMAERT，一个风格主义画家。Sandrart也指画家的“tiefsinnige，jedoch，schwermütigeGedanken在seinen Werken”[在他的作品深刻，但忧郁的思念]。

从这个不确定的地位，艺术家的儿子李泽楷之三Brugghen试图恢复他的父亲的名声在18世纪初画家。他获得了一封信，日期为1707 4月15日，由迪恩范德Werff在鹿特丹，证明他的亨德里克的工作表示赞赏。那年晚些时候，在1707 8月5日，理查德提出的政府委员会芬特尔四绘画的福音，在大会堂挂作为永久的纪念他的父亲。

雕刻，从彼得BODART由理查德·之三Brugghen委托，并于较早基于图形的所有的可能性杰拉德Hoet，是在1708年左右把它显示亨德里克的理想化的肖像，家庭外套的武器，和印刷标题从荷兰的翻译：

出生于Overijsel在1588年，乌得勒支前往罗马，10年后回到了乌得勒支，还有结婚，住在这里不间断的，并在42 1629年11月1日年龄死亡; 他从人生的伟大和著名历史画家，画真人大小的人物在意大利的方式，所以很优于著名的所有其他PP鲁本斯通过荷兰行驶的来乌得勒支宣称，他发现只有一个画家，即亨里克斯之三Brugghen。G. Hoet德尔。P. BODART，FEC。

科内利斯德憋在他明镜范德Verdrayde Werelt（1708），和阿诺德Houbraken，在他的德格鲁特Schouburgh（1718年至1721年），生产的传记，他们反复理查德的说法，画家在罗马会见了鲁本斯和也曾在那不勒斯。有在部队服役的同一个名字的军校学生恩斯特·卡西米尔拿骚-迪茨在1607年的春天，因为这个原因，泰尔Brugghen被认为已经在意大利，但只在这一年，而不是1604年以前认为（推断，因为它是从对BODART打印字样）。这肯定意味着他从来没有在罗马举行卡拉瓦乔; 该艺术家1606不过已经逃到罗马在谋杀罪名，可以肯定的是他在罗马卡拉瓦乔的一生中唯一的荷兰画家。

通过1614年，泰尔Brugghen在米兰，在回家的路上。在1615年4月1日Thyman面包车盖伦和泰尔Brugghen在乌得勒支的法庭证人。他已列为1616年的乌得勒支画家公会的成员，并在这一年他结婚Jacomijna Verbeeck，10月15日他哥哥简的继女。

泰尔Brugghen死在乌得勒支 1629年11月1日，可能是瘟疫的受害者。家庭一直生活在Snippenvlucht。泰尔Brugghen的八，Hennickgen最后一个孩子，出生四个月后的1630年3月14日

工作和影响

他当然研究卡拉瓦乔的作品，以及他的追随者-意大利的卡拉瓦乔主义者 -如奥拉齐奥蒂莱斯基。卡拉瓦乔的作品曾在意大利引起了轰动。他们大胆的他的画特点tenebroso技术，对比度由清晰，明亮的表面暗淡一起，深色产生部分，同时也为研究对象，时而妩媚，时而令人震惊或彻头彻尾的庸俗的社会现实。谁他在意大利逗留期间对泰尔Brugghen的影响等意大利画家是安尼巴莱卡拉齐，Domenichino路和圭多雷尼。

回国后到乌得勒支，他曾与杰拉德·范Honthorst，另外荷兰卡拉瓦乔主义者的。泰尔Brugghen最喜欢的科目是饮酒或音乐家半长的数字，但他也产生了较大规模的宗教图像和组肖像。他带着他卡拉瓦乔的影响，他的画具有强烈的戏剧性使用光线和阴影，以及充满激情的科目。尽管他英年早逝，他的作品深受好评，对别人有很大影响。他的宗教题材的治疗可以看出体现在工作的伦勃朗，以及他的风格元素，也可以在画中发现法兰斯哈尔斯和约翰内斯·维米尔，鲁本斯所描述之三Brugghen的作品为“...上面所有的其他乌得勒支的艺术家“。

English Introduction

Biography

No references to Ter Brugghen written during his life have been identified.^[2] His father Jan Egbertsz ter Brugghen, originally from Overijssel, had moved to Utrecht, where he was appointed secretary to the Court of Utrecht by the Prince of Orange, William the Silent. He had been married to Sophia Dircx. In 1588 he became bailiff to the Provincial Council of Holland in The Hague, where Hendrick was born.

The earliest brief reference to the painter is in Het Gulden Cabinet (1661) of Cornelis de Bie, where he is mistakenly referred to as Verbrugghen.Another short account is found in the Teutsche Academie (1675) by Joachim von Sandrart, where he is referred to as Verbrug. Here we learn that he studied with Abraham Bloemaert, a Mannerist painter. Sandrart also refers to the painter's "tiefsinnige, jedoch, schwermütige Gedanken in seinen Werken" [profound, but melancholic thoughts in his works].

From this unsure footing, the artist's son Richard ter Brugghen sought to rehabilitate his father's reputation as a painter in the early 18th century. He secured a letter, dated 15 April 1707, fromAdriaen van der Werff in Rotterdam, attesting to his appreciation of Hendrick's work. Later that year, on 5 August 1707, Richard presented the government council of Deventer with four paintings of the Evangelists, to be hung in the Town Hall as a permanent memorial to his father.

An engraving, in all likelihood commissioned by Richard ter Brugghen from Pieter Bodart, and based on an earlier drawing by Gerard Hoet, was put about in 1708. It shows an idealised portrait of Hendrick, the family coat-of-arms, and a printed caption translated from the Dutch as:

Born in Overijsel in 1588, travelled from Utrecht to Rome, and ten years later returned to Utrecht, married there, lived there interruptedly, and died at the age of 42 on 1st Nov. 1629; he was a great and famous history painter from life, painting life-size figures in the Italian manner, so very superior to all others that the famous P. P. Rubens on travelling through the Netherlands declared on coming to Utrecht that he had found only one painter, namely Henricus ter Brugghen. G. Hoet del. P. Bodart, fec.

Cornelis de Bie, in his Spiegel vande Verdrayde Werelt (1708), and Arnold Houbraken, in his De Groote Schouburgh (1718-1721), produced biographies where they repeated Richard's claims that the painter met Rubens in Rome and also worked in Naples. There was a cadet of the same name serving in the army ofErnst Casimir of Nassau-Dietz in the spring of 1607, and for this reason, Ter Brugghen is thought to have been in Italy, but only in that year, rather than as previously believed in 1604 (inferred as it was from the inscription on the Bodart print). This would certainly mean that he never met Caravaggio in Rome; that artist had fled Rome on a murder charge in 1606. However, it is certain that he was the only Dutch painter in Rome during Caravaggio's lifetime.

By 1614, Ter Brugghen was in Milan, on his way home. On 1 April 1615, Thyman van Galen and Ter Brugghen are witnesses before the court in Utrecht. He is already listed as a member of the Utrecht painter's guild in 1616, and on 15 October of that year he married Jacomijna Verbeeck, his elder brother Jan's stepdaughter

Ter Brugghen died in Utrecht on 1 November 1629, possibly a victim of the plague. The family had been living in the Snippenvlucht. Ter Brugghen's last child of eight, Hennickgen, was born four months later on 14 March 1630.

Work and impact

He certainly studied Caravaggio's work, as well as that of his followers–the Italian Caravaggisti–such as Orazio Gentileschi. Caravaggio's work had caused quite a sensation in Italy. His paintings were characteristic for their bold tenebroso technique–the contrast produced by clear, bright surfaces alongside sombre, dark sections–but also for the social realism of the subjects, sometimes charming, sometimes shocking or downright vulgar. Other Italian painters who had an influence on Ter Brugghen during his stay in Italy were Annibale Carracci, Domenichino and Guido Reni.

Upon returning to Utrecht, he worked with Gerard van Honthorst, another of the Dutch Caravaggisti. Ter Brugghen's favourite subjects were half-length figures of drinkers or musicians, but he also produced larger-scale religious images and group portraits. He carried with him Caravaggio's influence, and his paintings have a strong dramatic use of light and shadow, as well as emotionally charged subjects. Even though he died young, his work was well received and had great influence on others. His treatment of religious subjects can be seen reflected in the work of Rembrandt, and elements of his style can also be found in the paintings of Frans Hals and Johannes Vermeer. Peter Paul Rubens described ter Brugghen's work as "...above that of all the other Utrecht artists".

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信息统计与维护

美术百科参考资料

1、Hendrick ter Brugghen