Barthel Bruyn [1]

Nationality : German Renaissance painter, 1493-1555

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  • Title : Anne of Cleves
  • Info : 51285-Bruyn, Barthel-Anne of Cleves.jpg

Oil Painting ID: 51285


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  • Title : Burgomaster Arnold von Brauweiler
  • Info : 51286-Bruyn, Barthel-Burgomaster Arnold von Brauweiler.jpg

Oil Painting ID: 51286


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  • Title : Portrait of a Knight
  • Info : 51287-Bruyn, Barthel-Portrait of a Knight.jpg

Oil Painting ID: 51287


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  • Title : Portrait of a Man with Three Sons
  • Info : 51288-Bruyn, Barthel-Portrait of a Man with Three Sons.jpg

Oil Painting ID: 51288


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  • Title : Portrait of a woman
  • Info : 51289-Bruyn, Barthel-Portrait of a woman.jpg

Oil Painting ID: 51289


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  • Title : Portrait of a Young Man with Gloves
  • Info : 51290-Bruyn, Barthel-Portrait of a Young Man with Gloves.jpg

Oil Painting ID: 51290


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  • Title : Portrait of a Young Woman
  • Info : 51291-Bruyn, Barthel-Portrait of a Young Woman.jpg

Oil Painting ID: 51291


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  • Title : Portrait of an academic
  • Info : 51292-Bruyn, Barthel-Portrait of an academic.jpg

Oil Painting ID: 51292


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  • Title : Portrait of Scholar Petrus von Clapis
  • Info : 51293-Bruyn, Barthel-Portrait of Scholar Petrus von Clapis.jpg

Oil Painting ID: 51293


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  • Title : Vanitas Still-Life
  • Info : 51294-Bruyn, Barthel-Vanitas Still-Life.jpg

Oil Painting ID: 51294


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Bruyn, Barthel
Bartholomaus Bruyn (1493 - 1555), usually called Barthel Bruyn or Barthel Bruyn the Elder, was a German Renaissance painter active in Cologne. He painted altarpieces and portraits, and was Cologne's foremost portrait painter in the sixteenth century. He was born in Wesel or Cologne. His early works suggest that he received his artistic training in the Lower Rhine. His earliest documented altarpiece is a Coronation of the Virgin (1515-16) commissioned by Dr. Peter von Clapis, a professor at the University of Cologne. Bruyn's altarpieces of the 1510s and 1520s are influenced by the style of Jan Joest to whom Bruyn was related and often emulate Joest's habit of illuminating his figures from below. By the time Bruyn painted the Essen altarpiece (1522-25) he had combined Joest's influence with that of Joos van Cleve. In the 1530s, he developed a more Italianate style that reflects the examples of Raphael and Michelangelo, which he probably knew only at second hand through the engravings of Marcantonio Raimondi and as filtered through the works of such artists as Jan van Scorel and Martin van Heemskerck.

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