Las óleos de todo Jan van Bijlert
ID Image  Painting (From A to Z)       Details 
97935  
Jan van Bijlert, A Concert
  		 A Concert   oil on canvas Dimensions 103.5 x 144.5 cm cyf
97528  
Jan van Bijlert, Entremetteuse
  		 Entremetteuse   circa 1625-1630 Medium oil on canvas cyf
87868  
Jan van Bijlert, Johannes de Evangelist
  		 Johannes de Evangelist   1625-30 Medium Oil on canvas Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in) cyf
84003  
Jan van Bijlert, Johannes de Evangelist.
  		 Johannes de Evangelist.   Date ca.1625-30 Medium Oil on canvas Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in) cjr
90646  
Jan van Bijlert, Music society
  		 Music society   c 1640. Oil on canvas 17th century cjr
52606  
Jan van Bijlert, Musical Company
  		 Musical Company   Oil on panel, 97 x 115 cm
27343  
Jan van Bijlert, Portait of a young man,half-length,wearing a breastplate and brooch,wearing a breastplate and brooch with the head of medusa,and the order of the gold
  		 Portait of a young man,half-length,wearing a breastplate and brooch,wearing a breastplate and brooch with the head of medusa,and the order of the gold   mk56 oil on panel,in a carved and gilt wood frame
97686  
Jan van Bijlert, St John the evengelist
  		 St John the evengelist   circa 1625-30 Medium oil on canvas Dimensions 94.3 x 77.6 cm cyf
95483  
Jan van Bijlert, Virgin and Child
  		 Virgin and Child   circa 1635(1635) Medium oil on canvas cyf
Jan van Bijlert
Dutch Baroque Era Painter, ca.1597-1671 Dutch painter. He was the son of the Utrecht glass painter Herman Beerntsz. van Bijlert (c. 1566-before 1615). Jan must have trained first with his father but was later apprenticed to the painter Abraham Bloemaert. After his initial training, he visited France and travelled to Italy, as did other artists from Utrecht. Jan stayed mainly in Rome, where he became a member of the Schildersbent; he returned to Utrecht in 1624. In Rome he and the other Utrecht artists had come under the influence of the work of Caravaggio; after their return home, this group of painters, who became known as the UTRECHT CARAVAGGISTI, adapted the style of Caravaggio to their own local idiom. The Caravaggesque style, evident in van Bijlert's early paintings, such as St Sebastian Tended by Irene (1624; Rohrau, Schloss; see fig.) and The Matchmaker (1626; Brunswick, Herzog Anton Ulrich-Mus.), is characterized by the use of strong chiaroscuro, the cutting off of the picture plane so that the image is seen close-up and by an attempt to achieve a realistic rather than idealized representation.



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