Las óleos de todo Hendrick Goltzius
ID Image  Painting (From A to Z)       Details 
71389  
Hendrick Goltzius, Danae receiving Jupiter as a shower of gold.
  		 Danae receiving Jupiter as a shower of gold.   1603 Oil on canvas 173.3 x 200 cm (68.23 x 78.74 in)
81548  
Hendrick Goltzius, Hercules and Cacus
  		 Hercules and Cacus   Date 1613(1613) Medium Oil on canvas Dimensions 207 x 142.5 cm (81.5 x 56.1 in) cjr
85559  
Hendrick Goltzius, Hercules and Cacus
  		 Hercules and Cacus   1613(1613) Medium Oil on canvas Dimensions 207 x 142.5 cm (81.5 x 56.1 in) cyf
2014  
Hendrick Goltzius, Job in Distress
  		 Job in Distress   1616
80649  
Hendrick Goltzius, Jupiter and Antiope
  		 Jupiter and Antiope   1612(1612) Medium Oil on canvas Dimensions 129 x 178 cm (50.8 x 70.1 in) cyf
77183  
Hendrick Goltzius, Jupiter besluipt de slapende Antiope in de gedaante van een satyr.
  		 Jupiter besluipt de slapende Antiope in de gedaante van een satyr.   1612(1612) Oil on canvas 129 ?? 178 cm (50.8 ?? 70.1 in) cjr
78232  
Hendrick Goltzius, Jupiter und Antiope
  		 Jupiter und Antiope   1612 cjr
81508  
Hendrick Goltzius, Jupiter und Antiope
  		 Jupiter und Antiope   Date 1612 cyf
92673  
Hendrick Goltzius, Lot and his daughters.
  		 Lot and his daughters.   Date 1616(1616) Medium oil on canvas TTD
81973  
Hendrick Goltzius, Mercury
  		 Mercury   Date 1611(1611) Medium Oil on panel cyf
96355  
Hendrick Goltzius, Mercury as personification of painting
  		 Mercury as personification of painting   1611(1611) Medium oil on panel cyf
80258  
Hendrick Goltzius, Minerva
  		 Minerva   1611(1611) Oil on canvas 214 x 120 cm (84.3 x 47.2 in) cjr
84493  
Hendrick Goltzius, Minerva as personification of wisdom
  		 Minerva as personification of wisdom   1611(1611) Medium Oil on canvas Dimensions 214 x 120 cm (84.3 x 47.2 in) cyf
87151  
Hendrick Goltzius, Sine Cerere et Libero friget Venus
  		 Sine Cerere et Libero friget Venus   Date between 1599(1599) and 1602(1602) Medium Ink and oil on canvas Dimensions Height: 105 cm (41.3 in). Width: 80 cm (31.5 in). cjr
91929  
Hendrick Goltzius, Sine Cerere et Libero friget Venus
  		 Sine Cerere et Libero friget Venus   between 1599(1599) and 1602(1602) Medium Ink and oil on canvas Dimensions Height: 105 cm (41.3 in). Width: 80 cm (31.5 in). cyf
72498  
Hendrick Goltzius, Sleeping Danae Being Prepared to Receive Jupiter
  		 Sleeping Danae Being Prepared to Receive Jupiter   Date 1603 Medium Oil on canvas Dimensions 173.3 X 200 cm (68.23 X 78.74 in) cyf
85834  
Hendrick Goltzius, The Fall of Man
  		 The Fall of Man   Date 1616(1616) Medium Oil on canvas Dimensions 104.5 x 138.4 cm (41.1 x 54.5 in) cjr
96947  
Hendrick Goltzius, Venus and Adonis
  		 Venus and Adonis   1614(1614) Medium oil on canvas cyf
83594  
Hendrick Goltzius, Venus and Adonis.
  		 Venus and Adonis.   Date 1614(1614) Medium Oil on canvas Dimensions Height: 141 cm (55.5 in). Width: 191 cm (75.2 in). cjr
87423  
Hendrick Goltzius, Venus and Adonis.
  		 Venus and Adonis.   1614(1614) Medium Oil on canvas cyf
Hendrick Goltzius
1558-1617 Dutch Hendrik Goltzius (1558 - January 1, 1617), Dutch printmaker, draftsman, and painter, was born at Millebrecht, in the duchy of Julich. He was the leading Dutch engraver of the early Baroque period, noted for his sophisticated technique. After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornhert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia. 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 considerably improved in health, and laboured there at his art till his death. Goltzius' painting Lot and his daughters (Rijksmuseum Amsterdam) shows Lot being seduced by his two daughters. Sodom and Gomorrah are shown burning in the background, with Lot's wife who had turned into a pillar of salt, in front.Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. 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. A self portraitHollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Durer's; but his technical skill is not equally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He made engravings of Bartholomeus Spranger's paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in the imperial collection at Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham.



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