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Shepherd Boy Pointing at Tobias and the Angel
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Shepherd_Boy_Pointing_at_Tobias_and_the_Angel
Date c. 1625-1630
Medium Oil on canvas
Dimensions 36 1/4 x 46 3/8 in. (92,08 x 117,79 cm)
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Shepherdess with Grapes
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Shepherdess_with_Grapes
Date 1628
Medium Oil on canvas
Dimensions Deutsch: 104 x 83,5 cm
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Niobe weeping for her children
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Niobe_weeping_for_her_children
Date 1591(1591)
Medium Oil on canvas
Dimensions 204 cm x 249.5 cm
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Niobe weeping for her children
new25/Abraham Bloemaert-858564.jpg
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Niobe_weeping_for_her_children
1591(1591)
Medium Oil on canvas
Dimensions 204 cm x 249.5 cm
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The Emmaus Disciples
new25/Abraham Bloemaert-858773.jpg
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The_Emmaus_Disciples
1622(1622)
Medium oil on wood
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Abraham_Bloemaert
(1566, Gorinchem - 27 January 1651, Utrecht), was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends.
Bloemaert was the son of an architect, who moved his family to Utrecht in 1575, where Abraham was first a pupil of Gerrit Splinter (pupil of Frans Floris) and of Joos de Beer. He then spent three years in Paris, studying under several masters, and on his return to his native country received further training from Hieronymus Francken. In 1591 he went to Amsterdam, and four years later settled finally at Utrecht, where he became dean of the Guild of St. Luke.
He excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces. In the first decade of the seventeenth-century, Bloemaert began formulating his landscape paintings to include pictoresque ruined cottagges and other pastoral elements. In these works, the religious or mythological figures play a subordinate role. Country life was to remain Bloemaert's favourite subject, which he depicted with increasing naturalism. He drew motifs such as peasant cottages, dovecotes and trees from life and then on his return to the studio, worked them up into complex imaginary scenes.
Among his pupils are his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputation as painters or engravers), the two Honthorsts, Ferdinand Bol and Jacob Gerritsz Cuyp.
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