Gerbrand van den Eeckhout [1]

Nationality : Dutch Golden Age painter, 1621-1674

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  • Title : An Elegant Company Playing Cards
  • Info : Picture ID 34209-An Elegant Company Playing Cards.jpg

Oil Painting ID: 34209


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  • Title : Portrait of a Family
  • Info : Picture ID 34210-Portrait of a Family.jpg

Oil Painting ID: 34210


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  • Title : Presentation in the Temple
  • Info : Picture ID 34211-Presentation in the Temple.jpg

Oil Painting ID: 34211


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  • Title : Prophet Eliseus and the Woman of Sunem
  • Info : Picture ID 34212-Prophet Eliseus and the Woman of Sunem.jpg

Oil Painting ID: 34212


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  • Title : Prophet Eliseus and the Woman of Sunem-detail
  • Info : Picture ID 34213-Prophet Eliseus and the Woman of Sunem-detail.jpg

Oil Painting ID: 34213


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  • Title : Scholar with his Books
  • Info : Picture ID 34214-Scholar with his Books.jpg

Oil Painting ID: 34214


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  • Title : Vertumnus and Pomona
  • Info : Picture ID 34215-Vertumnus and Pomona.jpg

Oil Painting ID: 34215


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Eeckhout, Gerbrand van den
Gerbrand van den Eeckhout (Amsterdam, August 19, 1621 – Amsterdam, October 22, 1674), was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art. Gerbrand was born in Amsterdam as the son of a jeweller, a Mennonite who fled after 1585 from Antwerp to the north. In 1631 his mother died. His father's second wife was Cornelia Dedel, the daughter of a founder of the Delft chamber of the Dutch East India Company. Arnold Houbraken records Van den Eeckhout was a pupil of Rembrandt. A fellow pupil to Ferdinand Bol, Nicolaes Maes and Govert Flinck, be regarded as inferior to them in skill and experience; he soon assumed Rembrandt's manner with such success that his pictures were confused with those of his master. Eeckhout does not merely copy the subjects; he also takes the shapes, the figures, the Jewish dress and the pictorial effects of his master. It is difficult to form an exact judgment of Eeckhout's qualities at the outset of his career. His earliest pieces are probably those in which he more faithfully reproduced Rembrandt's peculiarities. Exclusively his is a tinge of green in shadows marring the harmony of the work, a gaudiness of jarring tints, uniform surface and a touch more quick than subtle. Eeckhout matriculated early in the Gild of Amsterdam. As he grew older Eeckhout succeeded best in portraits, for example that of the historian Olfert Dapper (1669), in the Städel collection in Frankfurt. Eeckhout occasionally varied his style. He followed Gerard ter Borch in Gambling Soldiers, at Stafford House, and a Soldiers' Merrymaking, in the collection of the marquess of Bute. Amongst the best of Eeckhout's works are Christ in the Temple (1662), at Munich, and the Haman and Mordecai of 1665, at Luton House. Eeckhout, unmarried, was also appreciated as art connoisseur, and dealing with poets and scientists. At the end of his life he was living with his sister-in-law, a widow, on Herengracht, at a very prestigious part of the canal.

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