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Landscape with the Ministry of John the Baptist.
new22/Abraham Bloemaert-965234.jpg
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Landscape_with_the_Ministry_of_John_the_Baptist.
ca. 1600(1600) (1590-1610)
Oil on canvas
139 188 cm (54.72 x 74.02 in)
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Landscape with fruit and vegetables in the foreground
new22/Abraham Bloemaert-723925.jpg
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Landscape_with_fruit_and_vegetables_in_the_foreground
after 1614(1614) (1614-1699)
Oil on canvas
39 cm x 50 cm
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Vertumnus and Pomona
new23/Abraham Bloemaert-848835.jpg
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Vertumnus_and_Pomona
Date 1620
Medium Oil on canvas
Dimensions 98 x 125 cm (38.58 x 49.21 in)
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Shepherd Boy Pointing at Tobias and the Angel
new23/Abraham Bloemaert-348963.jpg
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Shepherd_Boy_Pointing_at_Tobias_and_the_Angel
Abraham Bloemaert - Shepherd Boy Pointing at Tobias and the Angel - 36 1/4 x 46 3/8 in. (92,08 x 117,79 cm) - Oil on canvas - Minneapolis Institute of Art
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Berger montrant Tobie et l Ange
new24/Abraham Bloemaert-779798.jpg
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Berger_montrant_Tobie_et_l_Ange
92,08 x 117,79 cm - Huile sur toile - Minneapolis Institute of Art
Date c. 1625-1630
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Abraham_Bloemaert
(1566, Gorinchem - 27 January 1651, Utrecht), was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends.
Bloemaert was the son of an architect, who moved his family to Utrecht in 1575, where Abraham was first a pupil of Gerrit Splinter (pupil of Frans Floris) and of Joos de Beer. He then spent three years in Paris, studying under several masters, and on his return to his native country received further training from Hieronymus Francken. In 1591 he went to Amsterdam, and four years later settled finally at Utrecht, where he became dean of the Guild of St. Luke.
He excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces. In the first decade of the seventeenth-century, Bloemaert began formulating his landscape paintings to include pictoresque ruined cottagges and other pastoral elements. In these works, the religious or mythological figures play a subordinate role. Country life was to remain Bloemaert's favourite subject, which he depicted with increasing naturalism. He drew motifs such as peasant cottages, dovecotes and trees from life and then on his return to the studio, worked them up into complex imaginary scenes.
Among his pupils are his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputation as painters or engravers), the two Honthorsts, Ferdinand Bol and Jacob Gerritsz Cuyp.
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