Las óleos de todo BOEL, Pieter
ID Image  Painting (From A to Z)       Details 
76105  
BOEL, Pieter, Allegorie der Verganglichkeit der Welt
  		 Allegorie der Verganglichkeit der Welt   Date 1663 Medium Oil on canvas Dimensions 207 ?? 260 cm cyf
76041  
BOEL, Pieter, Large Vanitas
  		 Large Vanitas   Date 1663(1663) Medium Oil on canvas Dimensions 207 x 260 cm cyf
5212  
BOEL, Pieter, Large Vanitas Still-Life gdh
  		 Large Vanitas Still-Life gdh   1663 Oil on canvas, 207 x 260 cm Mus??e des Beaux-Arts, Lille
57295  
BOEL, Pieter, South America, large parrot
  		 South America, large parrot   mk255 for in the years 1669-1671. 0.98 x 1.30 meters canvas. Paris, the Louvre
5210  
BOEL, Pieter, Still-Life with Dead Wild-Duck gfh
  		 Still-Life with Dead Wild-Duck gfh   Oil on canvas, 71 x 87 cm National Gallery, Prague
5211  
BOEL, Pieter, Still-Life with Owl gfh
  		 Still-Life with Owl gfh   Oil on canvas, 68 x 93 cm Museum voor Schone Kunsten, Ghent
BOEL, Pieter
Flemish Baroque Era Painter, 1622-1674 Flemish painter, draughtsman and etcher. He came from an artistic family: his father Jan Boel (1592-1640), was an engraver, publisher and art dealer; his uncle Quirin Boel I was an engraver; and his brother Quirin Boel II (1620-40) was also a printmaker. Pieter was probably apprenticed in Antwerp to Jan Fyt, but may have studied previously with Frans Snyders. He then went to Italy, probably visiting Rome and Genoa, where he is supposed to have stayed with Cornelis de Wael. None of Boel's work from this period is known. In 1650 he became a master in the Antwerp Guild of St Luke (having given his first name as Jan, not Pieter). His marriage to Maria Blanckaert took place at about the same time. Boel dated only a few of his paintings, making it difficult to establish a chronology. He is best known for his hunting scenes, some of which clearly show his debt to Snyders, but the dominant influence on his work was that of Fyt, particularly evident in his emphatic brushwork. However, Boel was more restrained both in his treatment and in his handling of outline. He also borrowed the theme of open-air hunting still-lifes (e.g. Feathered Game with Three Dogs; Madrid, Prado) from Fyt, but he painted other subjects as well, such as the monumental Vanitas Still-life (e.g. 1633; Lille, Mus. B.-A.).



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