Hendrick goltzius biography

Hendrik Goltzius (born 1558, Hendrick [a] Goltzius (German: [ˈhɛndʁɪk ˈɡɔltsi̯ʊs], Dutch: [ˈɦɛndrɪk ˈxɔltsijʏs]; born Goltz; January or February – 1 January ) was a German-born Dutch printmaker, draftsman, and painter.

Www.britannica.com › Visual Arts › Hendrik Goltzius was a printmaker and painter, the leading figure of the Mannerist school of Dutch engravers. Through his engravings, he helped to introduce the style of such artists as Bartholomaeus Spranger and Annibale Carracci to the northern Netherlands.

Hendrick Goltzius was a German-born Hendrick Goltzius, who was born in the Lower Rhine region of Germany, came from a long line of artists: his great-grandfather and grandfather were both painters in Venlo, and his father, Jan Goltz II (–after ), was a glass painter in Duisburg.

Hendrick Goltzius (1558–1617), engraver, print Hendrick Goltzius (–), engraver, print publisher, draftsman, and painter, was one of the outstanding figures in Dutch art during the late sixteenth and early seventeenth centuries.

Hendrick Goltzius was a

Goltzius was renowned as a graphic artist and produced prints and drawings using a variety of techniques, including metalpoint, brush and ink, and chalk. He was also a pioneer in the art of “pen-painting,” a technique he invented in which pen is used directly on canvas to mimic the look of a print.

Goltzius was renowned as Biography of GOLTZIUS, Hendrick (b. , Mühlbrecht, d. , Haarlem) in the Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture ().

Hendrick Goltzius, the most Hendrick Goltzius, the most important Dutch artist of his generation and a founder of the seventeenth-century Haarlem school, was born in Muhlbracht in After learning the trade of glass painting from his father, Jan II Goltz, Hendrick studied with Dirck Volckertsz.

Dates: 1558 - 1617 ; Role(s). In numerous publications, Melion has discussed the construction of Goltzius as the epitome of the virtuous artist-hero, a trope rooted in the profession and techniques of art, and Jürgen Müller has stressed Christ-like allusions in Van Mander's account of his friend. 2 In this essay, I raise new questions about the ‘Life of Goltzius’ from a feminist and materialist perspective.