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and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to
Frankfurt, where he married Johanna de Milkau in 1637.
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455:, published between 1675 and 1680, and in more recent editions. This work is an educational compilation of short biographies of artists, as "a printed supplement to or surrogate for an academic course," inspired by
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at the time and never returned to France. This piece cemented his reputation as a leading painter, and in 1645 Sandrart decided to cash in and go home when he received an inheritance in
Stockau, outside
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whom De Bie has erroneously called "Verbrugghen". De Bie corrects this mistake in a manuscript and attacks
Sandrart for having copied the mistake without proper research in a later work of his.
318:, he sold his things and moved there. He received 3000 guilders for 2 books of his Italian drawings, that according to Houbraken were resold in his lifetime for 4555 guilders.
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Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to
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hanging below it. The state visit was a big deal for
Amsterdam, as it meant the first formal recognition of the
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Teutsche
Academie der Bau-, Bild- und Mahlerey-KĂĽnste, Joachim von Sandrart, NĂĽrnberg 1675, 1679, 1680
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when he brought a visit to
Honthorst in 1627, to recruit him for collaboration on part of his
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One or more of the preceding sentences incorporates text from a publication now in the
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Sandrart's commemorative painting of Maria de Medici's visit in 1638, Rijksmuseum
Amsterdam
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Though he rebuilt the old homestead, it was burned by the French. He sold it and moved to
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Afraid of political unrest and plague, he moved to
Amsterdam with his wife in 1637.
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696:. Vol. 24 (11th ed.). Cambridge University Press. p. 141.
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
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Double Agents
Cultural and Political Brokerage in Early Modern Europe
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291:. This piece was commissioned by the Bicker Company of the Amsterdam
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He is best known as an author of books on art, some of them in
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Teutsche Academie der edlen Bau-, Bild- und Mahlerey-KĂĽnste
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471:. His work in turn became one of the primary sources for
711:. Princeton: Princeton University Press. p. 138.
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High altarpiece for the Schottenkirche in Vienna, 1671
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658:Sandrart.net - online version of Teutsche Academie
567:Sandrart.net - online version of Teutsche Academie
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660:in German, but with some English navigation aids
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151:. According to his dictionary of art called the
823:Link to the Sandrart.net digitalization project
157:, he learned to read and write from the son of
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451:, and especially for his historical work, the
417:Archduchess Maria Anna of Austria (1610–1665)
113:(12 May 1606 – 14 October 1688) was a German
161:, Johann Theodoor de Brie and his associate
596:Noldus, Badeloch; Keblusek, Marika (2011).
585:(in German). Oxford University. p. 92.
463:. Both Sandrart and van Mander based their
16:German artist and art historian (1606–1688)
88:Johanna von Milkau (m. 1637–1672; death),
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518:The one who has taken it in hand himself.
920:German expatriates in the Dutch Republic
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80:St. Johannisfriedhof, Nuremberg, Germany
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279:In Amsterdam he worked as a painter of
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524:Sandrart copied a mistake in
483:Wat arbeid, moeite, en yver,
181:in 1625 to become a pupil of
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287:in 1638, which hangs in the
263:. From there he traveled to
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709:A History of Art History
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693:Encyclopædia Britannica
372:(one of a series), 1642
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791:Collection Rijksmuseum
602:. Brill. p. 162.
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227:. He then set out for
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356:Self-portrait in 1641
223:name was "Pan"), and
169:to become a pupil of
143:Sandrart was born in
93:(m. 1673–1688; death)
875:German male painters
838:after a painting by
299:Joost van den Vondel
183:Gerrit van Honthorst
111:Joachim von Sandrart
23:Joachim von Sandrart
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779:, 1708, p. 274-275
368:Personification of
925:Rembrandt scholars
840:Johann Ulrich Mayr
816:2012-10-10 at the
645:, courtesy of the
542:Public collections
531:Het Gulden Cabinet
340:commemorating the
117:art-historian and
102:Jacob von Sandrart
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775:Cornelis de Bie,
718:978-0-691-15652-1
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