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17th Flemish School attributed to Josse van Craesbeeck (1605-1661)
17th Flemish School attributed to Josse van Craesbeeck (1605-1661) - Paintings & Drawings Style Louis XIII 17th Flemish School attributed to Josse van Craesbeeck (1605-1661) - 17th Flemish School attributed to Josse van Craesbeeck (1605-1661) - Louis XIII
Ref : 76843
Period :
17th century
Provenance :
Medium :
Oil on copper
Dimensions :
L. 17.32 inch X l. 16.14 inch
Paintings & Drawings  - 17th Flemish School attributed to Josse van Craesbeeck (1605-1661) 17th century - 17th Flemish School attributed to Josse van Craesbeeck (1605-1661)
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Ancient paintings

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+33 (0)6 62 09 89 00
17th Flemish School attributed to Josse van Craesbeeck (1605-1661)

Josse van Craesbeeck (1605-1661) Genre scene on copper

Oil on copper 22.5 cm by 16 cm
Beautiful Dutch frame with reverse profile in molded and blackened wood with guilloche decoration, ripples and wedges of 44 cm by 41 cm

Josse van Craesbeeck (1605-1661)

Josse van Craesbeeck or Joos van Craesbeeck, (1605 to Neerlinter-around 1661 in Brussels), is a Flemish Baroque painter. He played an important role in the development of Flemish painting in the middle of the 17th century through his scenes of taverns and his dissolute portraits. His genre scenes depict low-life characters as well as scenes of middle-class people. He marries Johanna Tielens. The Tielens family has artists among its members: the landscape painter Jan Tielens is an uncle while two of the uncles on the mother's side of the wife are sculptors. The Tielens family is also responsible for the baking of the Antwerp Citadel When the painter Adrian Brouwer is imprisoned in the citadel, Van Craesbeeck probably meets him and is thought to have become the pupil and the best Brouwer's friend. The stylistic similarities of van Craesbeeck's early works with those of Brouwer seem to corroborate the link, Van Craesbeeck becomes master of the Sain Luc guild of Antwerp in 1633-1634. In 1637 he becomes a widower and gets an inheritance He is registered as the owner of a new house with a bakery in Anve2. From this time, he can devote himself full time to the pursuit of painting. The movements of van Craesbeek between 1637 and 1651, the year he became master of the Guild of St. Luke in Brussels, are unclear. It is likely that his move to Brussels is linked to that of David Tenier the young man who settled in Brussels on September 7, 1650. In 1653, Adriaen Rombouts is his pupil in Brussels. The date of van Craesbeeck's death is not known with certainty, but it must be between 1660 and 1661, Joos van Craesbeeck painted mainly scenes of genre and some compositions with religious theme. The chronology of his work is difficult to establish since only one painting, a self-portrait that has now disappeared, is signed. In addition to the unique painting signed with his full name, there are about 30 other paintings with the monogram cb or jvc. Despite the difficulty of dating his paintings, it is believed that in his early works he relied on Brouwer types. He also follows Brouwer's palette in his subtle harmonies with sparkling occasional reflections. Like Brouwer, he applies a very fine color leaving parts of the backdrop visible. After Brouwer's death in 1638, van Craesbeeck turned to other artists to inspire and take ideas from contemporary Dutch painters. The Antwerp painters, however, remain his main source of inspiration. He is able to find his own individual interpretation of the daily subjects, which formed the bulk of his production.4 His palette became dominated by browns and grays. In an even later phase when he resides in Brussels, he paints his mature work, largely independent of Brouwer. A group of works of this period is characterized by its bright colors and the use of its own repertoire of figures: bearded men with flat or fur hats, women with white hats or straw hats.

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17th Century Oil Painting Louis XIII