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Rillaer. When it was discovered that Jan van
Rillaer was only born around 1520-1525 it became clear that he could not be identified with the monogrammist since the latter had already produced work in the period 1520–1525. It was subsequently understood that Edward van Even had misread the monogram, which should actually be read as IANR. Archival records also showed that van Rillaer was in fact never documented as a painter. Based on this and other evidence it became possible to identify the monogrammist IANR with Jan Rombouts the Elder who was referred to in contemporary records as a painter.
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The earliest known archival document about Jan
Rombouts dates from 1508 and refers to him as 'Johannes Rombouts pictor'. Jan Rombouts the Elder was the grand nephew of the glass painter Claes Rombouts. He was mainly active in his hometown Leuven. He worked on commissions for religious institutions
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The details of the life of Jan
Rombouts are sketchy. He signed his work with a monogram which had been read by the 19th century city archivist of Leuven Edward van Even as representing the letters IVR. As a result, he identified the painter using this monogram with the Leuven city painter Jan van
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in
Pittsburgh). This early work shows the painter still struggling with his figures. The neatly painted Renaissance architectural details indicate the artist's interest in contemporary artistic developments in Italy. The result is a work rooted in the 15th century Flemish tradition of Early
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Renaissance painter, glass painter, draftsman, printmaker and glass designer. The subjects of his work are stories from the Old and New
Testament and the lives of Christian saints. He was active in Leuven where he introduced the Renaissance innovations of
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Jan
Rombouts is regarded as an important modernizer through his complex compositions, moving figures, lively and colourful palette, meticulous eye for detail and pseudo-Renaissance architectural elements. He thus introduced the innovations of
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Netherlandish painting but with a focus on Italy and the mannerism of among others
Bernard van Orley. His principal panel works are the monogrammed wings of a dismembered altarpiece depicting scenes from the New Testament stories of the
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dated 1528 (Gemäldegalerie, Staatliche Museen, Berlin) is a design for a glass-panel. The stained glasses from the former
Carthusian monastery in Leuven (parts of which are now in New York's Metropolitan Museum and the
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His oeuvre is now believed to comprise a handful of paintings (comprising five double-sided altarpiece wings and a single panel), seven engravings, a drawing on wood panel of
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Yvette
Bruijnen, Jan Rombouts: The Discovery of an Early Sixteenth-Century Master in Louvain (Ars Nova 16). Turnhout: Brepols Publishers 2011, 312 pp, fully illustrated.
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154:. At the same time Rombouts did not stray too far from the traditions of Early Netherlandisch painting as exemplified in the work of his famous fellow townsman
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Renaissance
Quarterly, Vol. 65, No. 2 (Summer 2012), pp. 548-549, Published by: The University of Chicago Press on behalf of the Renaissance Society of America
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Review of Yvette Bruijnen, Jan Rombouts: The Discovery of an Early Sixteenth-Century Master in Louvain (Ars Nova 16). Turnhout: Brepols Publishers 2011
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Rombouts married Barbele Roelants, with whom he had two children. His son Jan Rombouts the Younger also became a painter. His daughter Marie married
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186:) and more than two dozen painted glass windows, some of them believed to be after Rombouts’ design rather than by the master himself.
102:, a prominent painter in Leuven. Jan Rombouts was dean of Leuven's city administration from 1519 until his death in 1535. Along with
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129:. Only the son is documented as a glass painter but the evidence seems to indicate that Jan Rombouts I was also a glass painter.
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in Leuven. It is not known whether the panels were originally attached to a central painted panel or to a sculpted
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in Leuven. Bernard van Orley is known for introducing into Flemish painting Italianizing elements derived from
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His son (ca. 1505–59) worked in his father's workshop and also held public offices in Leuven, such as that of
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Review of Jan Rombouts: The Discovery of an Early Sixteenth-Century Master in Louvain by Yvette Bruijnen
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First name sometimes given as 'Johannes' and last name spelled as or 'Rombauts'
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Stained glass windows by Jan Rombouts I in the Metropolitan Museum of Art
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Jan (I) Rombouts - De opstanding van een zestiende-eeuwse schilder
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Scenes from the Life and Martyrdom of Saints Catherine and Clement
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His engravings reflect the influence of his contemporaries
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375:Signed, Jan R. A Renaissance master rediscovered
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431:The Torture of Saint Catherine of Alexandria
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70:The Conversion of St. Paul
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320:(in Dutch)
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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_and_workshop_-_Episodes_from_the_Life_and_Martyrdom_of_St._Catharine_(cropped).jpg)
