Dossier:Painters and Drebbel: Difference between revisions

Revision as of 21:05, 25 July 2016

During his whole life Drebbel has had close contacts with painters and graphical artists.

It all started around 1590 with his training time in Hendrick Goltzius studio. Together with his good friend, the painter

and writer Karel van Mander, Goltzius organized an Academy in Haarlem. As a result of their trips abroad, they were quite familiar

with the trends in Italy and elsewhere. Jacob de Gheyn II and Jacob Matham were active students in that period, as well as

Claes Jansz Clock and Petrus Overraat. Van Manderen was at the origin of three of Drebbel's engravings:

Juno

The Judgement of Solomon

Esther and Ahasverus

Many painters on the other hand have shown interest in his inventions and represented or used it in their works.

@@ Line 1: / Line 1: @@
 During his whole life Drebbel has had close contacts with painters and graphical artists.
-It all started with his training time in Hendrick Goltzius studio. Karel van Mander
+It all started around 1590 with his training time in Hendrick Goltzius studio. Together with his good friend, the painter
+and writer Karel van Mander, Goltzius organized an Academy in Haarlem. As a result of their trips abroad, they were quite familiar
+with the trends in Italy and elsewhere. Jacob de Gheyn II and Jacob Matham were active students in that period, as well as
+Claes Jansz Clock and Petrus Overraat. Van Manderen was at the origin of three of Drebbel's engravings:
+{|
+|[[File:Drebbel Juno rijksm.jpg|thumb|left|75px| Juno]]
+|[[File:Drebbel Das Urteil Salomonis.jpg|thumb|145px| The Judgement of Solomon]]
+|[[File:Drebbel_Esther_vor_Ahasveros.jpg|thumb|160px|Esther and Ahasverus ]]
+|}
 Many painters on the other hand have shown interest in his inventions and represented or used it in their works.