Floris van Dyck

Still life with fruits, bread and cheese
Floris van Dyck , 1613
Oil paint on a wooden panel
49.1 x 77.4 cm
Frans Hals Museum , Haarlem

Floris Claesz. van Dyck (* approx. 1575 in Delft ; † before April 1651 in Haarlem ) was a Dutch still life painter . Name variants are Floris van Dijck , Floris van Dikius and Florentius Dyck .

biography

Floris van Dyck was born in Delft around 1575 . The only relative is his cousin, the painter and draftsman Pieter Cornelisz. van Dyck known. He initially lived in Haarlem , where he became engaged in 1604 and later married for the first time. Nothing is known about his training. However, it is certain that he made a trip to Rome and stayed in Rome around 1600 . In 1606 he was already back in the Netherlands, in the city of Haarlem. In 1610 he became a member of the Guild of St. Luke in Haarlem and in 1637 its head. Floris van Dyck married for the second time in October 1627. He appeared after this marriage with Cornelia Jansdr. Vlasmans, who brought her fortune into the marriage, no longer had to rely on his profession as a painter and thus on a self-generated income. He died just before April in 1651.

Art historical importance

Only a relatively small oeuvre is known of Floris van Dyck (13 paintings and one watercolor painting). He signed his paintings only with the monogram "FVD", occasionally combined with an "H" (Harlemensis), and followed by "Fecit". His paintings are counted among the banquet pieces (also: Banketjes or Ontbijtjes ). As with banketje or Ontbijtje almost all paintings are meant, however, that pose a laden with food and dishes panel, would be a more sophisticated term for the paintings as they Dyck and Gillis created poster . It appears that Floris van Dyck was influenced by those in the Flemish painters Clara Peeters and Osias Beert . Together with his painter colleague Nicolaes Gillis , Floris van Dyck established the banquet pieces (display boards) in the city of Haarlem as an independent subject . Compared to Nicolaes Gillis, Floris van Dyck has a greater significance and therefore he can be said to have “the strongest style-forming force”. The paintings by Floris van Dyck and Nicolaes Gillis had a strong influence on the following generation of painters. They paved the way for a new kind of banquet piece - Het Monochrome Banketje .

Works

title	Dating	Dimensions	technology	place	Remarks	swell
Still life with cheese	approx. 1615-20	82.5 x 111.2 cm	Oil paint on a wooden panel	Rijksmuseum , Amsterdam	-	Rijksmuseum, Amsterdam , RKD
Still life with fruits, bread and cheese	1613	49.1 x 77.4 cm	Oil paint on a wooden panel	Frans Hals Museum , Haarlem	signed top right: FVD fecit 1613	Frans Hals Museum, Haarlem , RKD
Still life with cheese, fruits and drinking vessels	circa 1615	74.5 × 114 cm	Oil paint on a wooden panel	Private ownership, Germany	-	RKD
Still life with old cheese, fruits and nuts on a lace tablecloth	1610-1619	50 × 77 cm	Oil paint on a wooden panel	Privately owned	signed top left: FVD / A ° 161?	RKD
Still life with cheese, bread and fruits on a set table	circa 1615	43 × 71.5 cm	Oil paint on a wooden panel	Privately owned	-	RKD
(Splendor) Still life with fruits, cheese, bread and wine	1610	74 × 114 cm	Oil paint on wooden panel (oak)	Art trade Galerie De Jonckheere, Paris	signed top right: FVD fecit / A ° 1610	RKD , Sotheby’s
Still life with cheese and fruits	162 [2]	100 × 135 cm	Oil paint on a wooden panel	The Museum of Fine Arts, Montreal (Canada), loan (private collection)	signed top left: [1] 62 [2] FVD	RKD
Still life with cheese and fruits	1615 or 1616	80.5 × 124 cm	Oil paint on a wooden panel	Privately owned	signed top right: FVDH fecit. 161 [5 of 6]	RKD
Still life with walnuts, hazelnuts, strawberries, romans and an inverted wine glass on a table	1611	26.7 x 19.7 cm.	Oil paint on copper plate	Privately owned	signed top right: FVD fecit A ° 1611	Sotheby's
Wild strawberries	1624	-	Watercolor painting on canvas	Koninklijke Bibliotheek, The Hague	-	-

Notes and individual references

1. ↑ ^{a b c} (AKL). The visual artists of all times and peoples. KG Saur, Munich and Leipzig 1991ff., Volume 31, p. 386.
2. ↑ About Floris van Dyck in the Rijksmuseum, Amsterdam. ( Memento of the original from March 11, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
3. ↑ Fred G. Meijer & Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. 1525-1725. Primavera Press, Leiden 2003, p. 73.
4. ↑ ^{a b} About Floris van Dyck in the Rijksbureau voor Kunsthistorische Documentatie.  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.  
5. ↑ Claus Grimm: Still life. The Dutch and German masters. Belser, Stuttgart (et al.) 1988, p. 81.
6. ↑ The Dutch name is uitgestalde stilleven .
   See: APA Vorenkamp: Bijdrage tot de geschiedenis van het Hollandsch stilleven in de 17 eeuw: proefschrift ter Verkrijging van den graad van doctor in de letteren en wijsbegeerte aan de Rijks-Universiteit te Leiden. NV Leidsche Uitgeversmaatschappij, Leiden 1933, p. 24f & NRA Vroom: De Schilders Van Het Monochrome Banketje. Kosmos, Amsterdam 1945, p. 10. & Claus Grimm: Still life. The Dutch and German masters. Belser, Stuttgart (et al.) 1988, p. 81.
7. ^ Martina Brunner-Bulst: Pieter Claesz .: the main master of the Haarlem still life in the 17th century. Critical oeuvre catalog. Luca-Verlag, Lingen 2004, p. 145.
8. ^ NRA Vroom: De Schilders Van Het Monochrome Banketje. Kosmos, Amsterdam 1945, p. 42 & Ingvar Bergström: Dutch still-life painting in the seventeenth century . Translated from the Swedish by Christina Hedström and Gerald Taylor. Faber & Faber, London 1956, p. 98ff & Pieter Biesboer (among others): Pieter Claesz: (1596 / 7-1660), Meester van het stilleven in de Gouden Eeuw. (Aust.cat .: Frans-Halsmuseum Haarlem 2005). Uitgeverij Waanders BV, Zwolle 2004, p. 15.

literature

reference books

• Floris van Dyck . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 31, Saur, Munich a. a. 2001, ISBN 3-598-22771-X , p. 386.
• Karl Lilienfeld : Dyck, Floris Claesz. van . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 10 : Dubolon – Erlwein . EA Seemann, Leipzig 1914, p. 270–271 ( Text Archive - Internet Archive ).
• Erika Gemar-Költzsch: Dutch still life painter in the 17th century. Luca-Verlag, Lingen 1995, ISBN 3-923641-41-9 .
• Fred G. Meijer & Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. 1525-1725. Primavera Press, Leiden 2003, ISBN 90-74310-85-0 .

Monographs & exhibition catalogs

• Ingvar Bergström: Dutch still-life painting in the seventeenth century . Translated from the Swedish by Christina Hedström and Gerald Taylor. Faber & Faber, London 1956.
• Pieter Biesboer (among others): Pieter Claesz: (1596 / 7-1660), Meester van het stilleven in de Gouden Eeuw. (Aust.cat .: Frans-Halsmuseum Haarlem 2005). Uitgeverij Waanders BV, Zwolle 2004, ISBN 90-400-9005-X .
• Martina Brunner-Bulst: Pieter Claesz .: the main master of the Haarlemer still life in the 17th century. Critical oeuvre catalog. Luca-Verlag, Lingen 2004, ISBN 3-923641-22-2 .
• Sybille Ebert-Schifferer: The history of the still life. Hirmer, Munich 1998, ISBN 3-7774-7890-3 .
• Claus Grimm: Still life. The Dutch and German masters. Belser, Stuttgart (inter alia) 1988, ISBN 3-7630-1945-6 .
• Johan Huizinga Huizinga: Dutch Culture in the Seventeenth Century. From the Dutch by Werner Kaegi . With fragments from 1932 and an afterword by Horst Gerson. Suhrkamp, ​​Frankfurt a / M 1977, ISBN 3-518-06901-2 .
• Gerhard Langemeyer & Hans-Albert Peeters (eds.): Still life in Europe. (Aust.kat .: Westphalian State Museum for Art and Cultural History Münster & State Art Hall Baden-Baden 1980). Regional Association of Westphalia-Lippe, Münster 1979.
• Michael North: History of the Netherlands. Beck, Munich 2003 ISBN 3-406-41878-3 .
• Simon Schama: Overvloed en onbehagen: de Nederlandse cultuur in de Gouden Eeuw. Translated from the English by Eugène Dabekaussen, Barbara de Lange en Tilly Maters. Contact, Amsterdam 1988, ISBN 90-254-6838-1 .
• Norbert Schneider: Still life. Reality and symbolism of things; the still life painting of the early modern period. Taschen, Cologne 1989, ISBN 3-8228-0398-7 .
• APA Vorenkamp: Bijdrage tot de geschiedenis van het Hollandsch stilleven in de 17 eeuw: proefschrift the Verkrijging van den graad van doctor in de letteren en wijsbegeerte aan de Rijks-Universiteit te Leiden. NV Leidsche Uitgeversmaatschappij, Leiden 1933.
• NRA Vroom: A modest message as intimated by the painters of the "Monochrome banketje" . Vol. 1 & 2: Interbook International, Schiedam 1980, Vol. 3: Wilson DMK, Nuremberg 1999.
• NRA Vroom: De Schilders Van Het Monochrome Banketje. Kosmos, Amsterdam 1945.

Essays & Articles

• Julie Berger Hochstrasser: Imag (in) ing prosperity. Painting and material culture in the 17th century Dutch household. In: Jan de Jong (Ed.): Wooncultuur in de Nederlanden. 1500 - 1800 = The art of home in the Netherlands. Zwolle 2001. Waanders, Zwolle 2001, ISBN 90-400-9539-6 , pp. 194-235 ( Nederlands kunsthistorisch jaarboek. 51).
• Joseph Lammers: Fasting and Enjoyment. The set table as a theme of still life. In: Gerhard Langemeyer & Hans-Albert Peeters (Hrsg.): Still life in Europe. (Aust.kat .: Westphalian State Museum for Art and Cultural History Münster & State Art Hall Baden-Baden 1980). Landschaftsverband Westfalen-Lippe, Münster 1979. pp. 402-429.

Web links

Commons : Floris van Dyck  - Collection of images, videos and audio files

• Floris van Dyck at Google Arts & Culture