Adriaen Isenbrant

Adrian Isenbrant: Maria with child, Alte Pinakothek, Munich

Adriaen Isenbrant (also Isenbrandt, Ysenbrant, Pseudo-Mostaert ; active in Bruges from 1510 ; † July 1551 ibid) was a Flemish painter .

Not a single painting by Isenbrant is secured by signatures or documents. It is thanks to one person that a group of panel paintings that had previously been grouped around the Madonna of the Seven Sorrows ( Church of Our Lady, Bruges ) between 1847 and 1862 by the Berlin art scholar Gustav Friedrich Waagen and incorrectly attributed to Jan Mostaert , are now recognized as works by Isenbrant now far and wide accepted hypothesis of the Belgian art historian Georges Hulin de Loo, the key's 1902 Bruges 'during the Bruges loan exhibition Primitifs Flamands because of its clear references to the oeuvre of Gerard David to in Anthony Sanderus ' Flandria Illustrata attributed vermeldeten as his pupil Isenbrant. Together with Ambrosius Benson and Albert Cornelis , with whom he worked several times, Isenbrant is one of the most important Bruges painters in the succession of Gerard David. Friedländer names him as a pupil of Gerard David, but sees in his works the motifs of other painters of the time, such as Jan Gossaerts or Ambrosius Bensons. It is difficult to draw a line between one's own work and that of his workshop.

Life

Isenbrant's birthplace and year of birth are not known, on November 29, 1510, Isenbrant, who is known as a “stranger”, joins the Bruges guild of panel painters as a free master. The painter was initially married to Maria Granden from Bruges, who died in 1537. At this point, guardians were appointed for the painter's illegitimate daughter, along with the Bruges landlady Katelijne van Brandenburch, who is also on record as the lover of the painter Ambrosius Benson . The widower married Clementine De Haerne before 1543; three children were still minors when Isenbrant died in 1551. Guardians appointed by the city ensure in trust that they take over the paternal inheritance - including four houses located within the city walls.

The Bruges memorial list of Bruges painters honors him - like Hans Memling and Gerard David before - with the honorary title "meester". In the guild he held various official positions, including between 1516 and 1548 he was nine times as 'vinder' (inspector) and twice as treasurer. A single apprentice - Cornelis van Gallenberge - entered the Isenbrant workshop in 1520.

Although some of the works listed today under the attribution of "Isenbrant" are to be regarded as the products of imitators and copyists due to their quality, the core of the group of works, consisting primarily of popular devotional images and portraits, undoubtedly comes from a workshop that is permanently located in Bruges and cooperates with several artists. which regularly repeats popular pictorial inventions by older masters - especially those by Gerard David - and is also based on Albrecht Dürer's contemporary prints . His paintings have a characteristically warm color scheme that contrasts with the cooler colors of the David workshop and tries to surpass its sfumato . The background landscapes of the paintings attributed to Isenbrant, which were probably contributed by different employees and which point to direct contact with the Antwerp landscape painting by Joachim Patinier , are less characteristic . Together with Lancelot Blondeel , with whom he worked together in 1521 on the design of the festive decorations on the occasion of Emperor Charles V's entry into Bruges, Isenbrant was of great influence in the spread of Renaissance forms in ornamentation and decorative elements in Bruges panel painting of the 16th century.

Works

• Anthony Altar. (around 1510–1515) in the Nikolaikirche (Tallinn) , supplemented there by Michel Sittow
• Triptych of the offering in the temple. (1510–1518?), St. Salvator , Bruges
• Portrait of a Goldweigher (around 1515–1520), Metropolitan Museum of Art , New York
• Portrait of Paulus de Nigro (1518), Groeningemuseum Bruges
• Triptych of the Adoration of the Magi. (1518), formerly in the Marienkirche in Lübeck , where the air raid on Lübeck on 29 March 1942 destroyed
• Diptych of the Madonna of the Seven Sorrows. (1521): right wing in the Church of Our Lady (Bruges) , left donor wing in the Musée Royaux des Beaux-Arts de Belgique , Brussels.
• Birth of Christ (c.1520–1540), National Gallery of Art , Washington DC
• Triptych with scenes from the life of Mary , (after 1521), Metropolitan Museum of Art , New York

literature

• Max J. Friedländer: From Eyck to Bruegel, studies on the history of Dutch painting . Julius Bard, Berlin 1916, p. 109 and 129 ( Textarchiv - Internet Archive ).
• Isenbrant, Adriaen . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 19 : Ingouville – Kauffungen . EA Seemann, Leipzig 1926, p. 245-246 .
• Max Jakob Friedländer: The old Dutch painting. Volume XI: The Antwerp Mannerists - Adriaen Ysenbrant. Cassirer, Berlin 1933.
• RA Parmentier: Bronnen voor de Geschiedenis van het Brugse schildermilieu in de XVIe eeuw: Adriaan Isenbrant. In: Revue Belge d'archéologie et de histoire de l'art 9, 1939, pp. 229–265.
• Jean C. Wilson, Adriaen Isenbrant reconsidered: The Making and Marketing of Art in sixteenth-Century Bruges. Dissertation Johns Hopkins University 1983.
• Jean C. Wilson: Adriaen Isenbrant and the Problem of his Oeuvre: Thoughts on Authorship, Style and the Methodology of Connoisseurship . In: Oud Holland . tape 109 , no. 1/2 , 1995, ISSN  0030-672X , p. 1-17 , JSTOR : 42711486 .
• Jean C. Wilson: Painting in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture. Penn State Press, University Park 1998.
• Maximiliaan PJ Martens, Paul Huvenne (ed.): Memling and his time: Bruges and the Renaissance. Belser, Stuttgart 1998, pp. 120-139.
• Maximiliaan PJ Martens, Paul Huvenne (eds.): Brugge en de Renaissance - Van Memling tot Pourbus: notities. Stichting Kunstboek / Ludion Oostkamp and Gent 1998, pp. 59–84.
• Adriaen Isenbrant . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 76, de Gruyter, Berlin 2013, ISBN 978-3-11-023181-6 , p. 423 f.

Web links

Commons : Adriaen Isenbrant  - collection of images, videos and audio files

Individual evidence

1. ^ Adriaen Isenbrant in the National Gallery of Art (biography, English).
2. ↑ ( Page no longer available , search in web archives: Georges Hulin de Loo. )
3. ↑ George Hulin de Loo: Bruges 1902 Exposition de Tableaux Flamands des XIVe, VXe et XVIe siècles. Cataloque Critique. Sifer, Gent 1902, pp. LXIII-LXVII.
4. ^ RA Parmentier: Bronnen voor de Geschiedenis van het Brugse schildermilieu in de XVIe eeuw: Adriaan Isenbrant. In: Revue Belge d'archéologie et de histoire de l'art. 9, 1939, pp. 229-265.
5. ^ RA Parmentier: Revue Belge d'archéologie et de histoire de l'art. 9, 1939, p. 233;
   RA Parmentier: Modest omtrent de Burgsche schilders van de 16de eeuw: I. Ambrosius Benson. In: Handelingen van het genootschap voor geschiedenis gesticht onder de benaming Société d'Émulation 80, 1937, pp. 87–129, here: pp. 95–96.
6. ^ RA Parmentier: Revue Belge d'archéologie et de histoire de l'art. 9, 1939, pp. 241, 251-255.
7. ^ RA Parmentier: Revue Belge d'archéologie et de histoire de l'art. 9, 1939, p. 229.
8. ^ Jean C. Wilson: Adrian Isenbrant and the Problem of his Oeuvre: Thoughts on Authorsjip, Style and the Methodology of Connoisseurship. In: Oud Holland 109, 1005, p. 117;
   Maximiliaan PJ Martens, Paul Huvenne (ed.): Memling and his time: Bruges and the Renaissance. Belser, Stuttgart 1998, pp. 46-53 and 120-122;
   Maximiliaan PJ Martens, Paul Huvenne (eds.): Brugge en de Renaissance - Van Memling tot Pourbus: notities. Stichting Kunstboek / Ludion Oostkamp and Gent 1998, pp. 59–84.