Hendrick Goltzius [1]

Nationality : Dutch painter, 1558-1617

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  • Title : Christ the Redeemer
  • Info : canvas painting 39322-Christ the Redeemer.jpg

Oil Painting ID: 39322


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  • Title : Hercules and Cacus
  • Info : canvas painting 39323-Hercules and Cacus.jpg

Oil Painting ID: 39323


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  • Title : Lot and his Daughters
  • Info : canvas painting 39324-Lot and his Daughters.jpg

Oil Painting ID: 39324


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  • Title : Mercury
  • Info : canvas painting 39325-Mercury.jpg

Oil Painting ID: 39325


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  • Title : Minerva
  • Info : canvas painting 39326-Minerva.jpg

Oil Painting ID: 39326


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  • Title : Portrait of Sculptor Giambologna
  • Info : canvas painting 39327-Portrait of Sculptor Giambologna.jpg

Oil Painting ID: 39327


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  • Title : Self-Portrait
  • Info : canvas painting 39328-Self-Portrait.jpg

Oil Painting ID: 39328


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  • Title : Venus between Ceres and Bacchus
  • Info : canvas painting 39329-Venus between Ceres and Bacchus.jpg

Oil Painting ID: 39329


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  • Title : Without Ceres and Bacchus, Venus would Freeze
  • Info : canvas painting 39330-Without Ceres and Bacchus, Venus would Freeze.jpg

Oil Painting ID: 39330


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Goltzius, Hendrick
Hendrik Goltzius (January or February 1558 - January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In middle age he also began to produce paintings. Goltzius was born near Venlo in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the municipality Brüggen in North Rhine-Westphalia. His family moved to Duisburg when he was 3 years old. After studying painting on glass for some years under his father, he learned engraving from the Dutch polymath Dirck Volkertszoon Coornhert, who then lived in Cleves. In 1577 he moved with Coornhert to Haarlem. In the same town, he was also employed by Philip Galle to engrave a set of prints of the history of Lucretia. Goltzius had a malformed right hand from a fire when he was a baby (his drawing of it is below), which turned out to be especially well-suited to holding the burin; "by being forced to draw with the large muscles of his arm and shoulder, he mastered a commanding swing of line". At the age of 21 he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; but his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to emulate that master in the grotesqueness and extravagance of his designs. He returned to Haarlem in August 1591, considerably improved in health, and laboured there at his art till his death. His portraits, though mostly miniatures, are masterpieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His masterpieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised. Goltzius brought to an unprecedented level the use of the "swelling line", where the burin is manipulated to make lines thicker or thinner to create a tonal effect from a distance. He also was a pioneer of "dot and lozenge" technique, where dots are placed in the middle of lozenge shaped spaces created by cross-hatching to further refine tonal shading.

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