Nicolas Neufchâtel
Nicolas Neufchâtel (also de Neufchâtel , Neuf-Chateu , Nutschatell , Dutch Colijn van Nieucasteel , called Lucidel ; * 1525 or 1527 in the county of Bergen ( Mons in Hainaut); † after 1573 ) was a Dutch portrait painter .
Life
Neufchâtel became a pupil of Pieter Coecke van Aelst in Antwerp in 1539 . It has been suggested that he returned to Bergen in the following years or worked in Mechelen and Brussels. As a staunch Calvinist, he seems to have left the Netherlands after the reign of Philip II (1556). Possibly after stops in Friesland or Frankfurt, he came to Nuremberg, where he was granted asylum in 1561 and was able to establish himself as a valued portraitist of the Nuremberg patriciate and also became known beyond Nuremberg. Presumably during the Augsburg Diet (1566) Maximilian II had himself and his daughter portrayed by him three times and rewarded him with 100 Rhenish guilders. On July 23, 1567, he and a few others were warned by the Nuremberg Council on suspicion of “Calvinist heavy work” and for “disputes”, which is also the last archival evidence of his person. In Nuremberg he was likely to have painted his portrait of the sculptor Johann Gregor van der Schardt in 1573 , after which his trace is lost.
Around 40 portraits are known of Neufchâtel, all of which date from the time it was taken in Nuremberg until 1573.
Portrait of Johann Neudörffers the Elder
At the beginning of his well-known oeuvre is the painting Johann Neudörffer the Elder (1497–1563) with a pupil who is committed to the Dutch tradition of portraiture. Neudörffer and a student are sitting at a table with a green tablecloth. Contrary to popular belief, the boy depicted cannot be Neudörffer's son, as he was already 18 years old when the picture was taken. The master takes the dimensions of the dodecahedron visible in the picture and dictates them to the boy. The surrounding inscription on the frame notes the name of the painter and refers to the merits of the scholar.
Neufchâtel donated the portrait to the Nuremberg Council as they wanted to thank them for taking it to the city. This can also be found in the inscription on the frame. In return, Neufchâtel received 32 guilders from the council, according to a council departure on November 7, 1564 . Since the portrait was included in the collection of the Nuremberg Council of Important Men of the City, it is conceivable that the portrait was commissioned by the city.
A later copy of this painting exists in Lille and a painted study limited to a reproduction by Neudörffers in the St. Petersburg Hermitage . The representation of Jost Amman in a woodcut is probably based on this painting as well.
literature
- RB: Neufchatel, Nicolas . In: Allgemeine Deutsche Biographie (ADB). Volume 23, Duncker & Humblot, Leipzig 1886, p. 490.
- Kurt Lochs: Neufchatel, Nicolas. In: New German Biography (NDB). Volume 19, Duncker & Humblot, Berlin 1999, ISBN 3-428-00200-8 , p. 114 f. ( Digitized version ).
- Rudolf Arthur Peltzer: Nicolas Neufchatel and his Nuremberg portraits. In: Munich Yearbook of Fine Arts. New series 3 (1926), pp. 187-231.
- Anja Schneckenburger Broschek: Old German painting. The panel paintings and altars from the 14th to 16th centuries in the Gemäldegalerie Alte Meister and in the Hessisches Landesmuseum Kassel. Staatliche Museen Kassel, Kassel 1997, p. 218.
Web links
| personal data | |
|---|---|
| SURNAME | Neufchâtel, Nicolas |
| ALTERNATIVE NAMES | Nieucastel, Colyn van; Neufchatel, Nicolas |
| BRIEF DESCRIPTION | Flemish painter |
| DATE OF BIRTH | around 1527 |
| PLACE OF BIRTH | Antwerp |
| DATE OF DEATH | after 1590 |
| Place of death | Nuremberg |