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425:"Haarlem Mannerists" and artists from other towns joined the movement. Their pictorial language was characterised by a strong awareness of style and cultivated elegance. They strove for artful ingenuity rather than naturalism. They also had a preference for depicting exaggeratedly brawny musclemen, violent drama, wild fantasy and a heightened richness of detail. The dissemination of the engravings of Goltzius went hand in hand with the new practice of art theorisation that was new to the 16th century and in which Karel van Mander played an important role.
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375:, which gave Catholics equal rights to Protestants, had been overturned in 1578. Van Mander used his work on the commission in his "Schilder-boeck". While in Haarlem he continued to paint, concentrating his energy on his favourite genre: historical allegories. In 1603 he rented a fortified manor ("het Huis te Zevenbergen"), later renamed
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In 1573 he travelled to Rome in the company of some young nobles. He stayed in Rome for more than three years. There he was active as a painter and became acquainted with patronage. For the
Italian count Michelangelo Spada he made some frescoes with scenes of the Parisian blood wedding of 1572 in the
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Van Mander settled back in his native
Meulebeke in 1578 where he was active as a painter and writer. He married an 18-year-old local girl, with whom he had a son. In 1580 he left for Kortrijk due to religious troubles caused by Catholic zealots in Meulebeke. Karel van Mander had at some point become
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was the author of the biographical. He would have relied on biographical information that Karel van Mander had written himself as well as on his own recollections and notes. The information in the biographical sketch is not entirely reliable but is still regarded as the best source of information
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for their biographical sketches of
Netherlandish painters. His book is still the most-cited primary source in biographical accounts of the lives of many artists he included. Of most interest to art historians is his criticism of the work of these artists, especially when he describes the location
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As a writer van Mander worked in various genres: drama, poetry, songs, biography and art theory. He also translated classical literature. His literary production reflects the two sides of his intellectual and spiritual interests: the humanism of the
Renaissance and the religious convictions of a
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as the court artist of emperor Rudolf II. These drawings had a galvanising effect on
Goltzius whose style was influenced by them. Goltzius made engravings of the drawings which were important in disseminating the Mannerist style. Van Mander, Goltzius and Cornelis van Haarlem became known as the
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and published in
Haarlem in 1604 by Passchier van Wesbusch, describes the life and work of more than 250 painters, both historical and contemporary, and explains contemporary art theory for aspiring painters. During his travels and stay in Italy, van Mander had read and was influenced by
409:, of an "academy to study after life". It is not entirely clear what this academy did but it is believed it was an informal discussion group which may have organised drawing classes with life models. It has also been claimed that the nature of the academy was more of a literary nature.
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Most of the information about Karel van Mander's life is based on a brief and anonymous biographical sketch included in the posthumous second edition of the
Schilder-boeck published in 1618 by Jacob Pietersz Wachter. It is not certain who wrote this biographical sketch with the title
436:, religious themes had gone out of fashion and mythology had become popular. However, few painters could afford a trip to Italy such as the one that van Mander had undertaken. His purpose was to educate young painters in the proper artistic techniques. He was a firm believer in the
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ones. Symbolism was very important in painting at the time, and the use of Ovid's characters, combined with the proper use of artistic symbolism allowed the artist to tell a specific story. The last chapter of the
Schilder-Boeck describes the meaning of animals and other figures.
486:, published in 1597. This poetry volume consists of rather longwinded versification of biblical stories that were intended to educate readers with biblical words. His style developed under the influence of his translation (from the French) of classical literature such as the
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The Lives of the illustrious
Netherlandish and German painters, from the first edition of the Schilder-boeck (1603–1604), preceded by the lineage, circumstances and place of birth, life and ..., from the second edition of the Schilder-boeck
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in 1582 because of an outbreak of the plague and other reasons. In Bruges, he worked with the painter Paul Weyts. Because of the threat of religious troubles and the plague, Karel fled with his family and his mother-in-law by ship to the
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introduced Dutch artists to
Italian art and encouraged them to travel, if not follow the book's instructions on Italian painting methods. Aside from his son Karel van Mander the Younger and Frans Hals, his registered pupils were
236:(The lineage, birth, place, time, life, and works of Karel van Mander, painter and poet, including his death and burial). Various candidates have been proposed including his brother Adam van Mander and the author
286:. The next five years he was less occupied with painting than with the writing of religious plays for which he also painted the scenery. He built quite a reputation in Flanders with his theatre productions.
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Karel van Mander in: Marijke Spies, Ton van Strien and Henk Duits, 'Amsterdam University Press Rhetoric Rhetoricians and Poets, Studies in Renaissance Poetry and Poetics, 1999, pp. 93–97
278:. De Heere was a versatile artist who was painter, watercolorist, print artist, biographer, playwright, poet and writer. During the period 1568-1569 van Mander studied with the painter
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Here he worked for 20 years on a commission by the Haarlem city fathers to inventory "their" art collection. The city of Haarlem had confiscated all Catholic religious art after the
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Karel van Mander in: K. ter Laan, 'Letterkundig woordenboek voor Noord en Zuid', G.B. van Goor Zonen's Uitgeversmaatschappij, Den Haag / Djakarta 1952 (tweede druk), pp. 329–330
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and was therefore a possible target of these zealots. In Kortrijk he got a commission for an altar piece. In Kortrijk another son was born. He left Kortrijk for
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t Geslacht, de geboort, plaets, tydt, leven, ende wercken van Karel van Mander, schilder, en poeet, mitsgaders zyn overlyden, ende begraeffenis
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to enter into the service of the emperor. On his return journey he passed through Vienna, where, together with Spranger and the sculptor
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pious mennonite. His earliest works were biblical plays that he wrote while still in Flanders. These have not been preserved.
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although the exact meaning of the reference is unclear. In Rome he may also have come into contact with fellow Flemish painter
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He received budding artists in his home for evenings of communal drawing and study of classical mythology. After the
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to proofread his book that was published in 1604. He died soon after it was published in Amsterdam at the age of 58.
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His biographical sketch refers to van Mander as the discoverer of "caves" in Rome. This may be a reference to the
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Painting in the Dutch Golden Age - A Profile of the Seventeenth Century, National Gallery of Art, 2007, p. 119
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David A. Shank, 'Karel Van Mander's Mennonite Roots in Flanders', Mennonite Quarterly Review, Vol. 79, No. 2
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for the jambs of Virgil in his bundle of spiritual songs published in 1613 after his death under the title
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Van Mander was further influential on art writing in the seventeenth and eighteenth centuries.
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He had an important impact on art in the Dutch Republic when in 1585 he showed his friend
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H. Duits, 'Het leven van Karel van Mander. Kunstenaarsleven of schrijversbiografie?'
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Alternative name spellings: Carel van Mandere, Karel Van Mander and Carel Van Mander
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His own works included mannerist mythological subjects, but also portraits and
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drawings by Bartholomeus Spranger. Spranger was then the leading artist of
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Karel van Mander's book also contains an interpretation of the stories in
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History-Lied van den Ouden Tobias. Op de wijse Venus der minnen Godinnen
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and owner of the paintings, thus becoming a valuable source for art
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Shaping the Netherlandish Canon: Karel Van Mander's Schilder-Boeck
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Dat hooghe liedt Salomo, met noch andere gheestelycke liedekens
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Lives of the Most Excellent Painters, Sculptors, and Architects
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in the latter part of his life. He is mainly remembered as a
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since Frans Hals produced almost solely portrait paintings.
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De gulden harpe, inhoudende al de geestelijcke liedekens
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Bucolica en Georgica, dat is, Ossen-stal en Landt-werck
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Dramatists and playwrights from the Holy Roman Empire
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Een schriftuerlijck Liedeken van Jephtah. Op de wijse
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Flemish painter, poet and art historian (1548–1606)
959:The artful image: the Haarlem mannerists 1580-1600
940:, De zeventiende eeuw 9 (1993), nr. 2, pp. 117–136
240:. It has been argued more recently that his son
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177:(May 1548 – 2 September 1606) was a Flemish
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1049:, Soest: Davaco, 1994-1997.
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411:
404:
395:
370:
345:
336:
304:
288:
261:
252:
233:
230:
214:
174:
170:
169:
160:city council
128:
124:Notable work
77:(1606-09-02)
29:
1104:1606 deaths
1099:1548 births
1047:(1616–1618)
539:, Rotterdam
323:royal entry
1093:Categories
1002:(in Dutch)
878:References
700:provenance
616:Frans Hals
434:Calvinists
430:iconoclasm
300:grotesques
203:biographer
183:playwright
968:on Codart
724:Rotterdam
691:Schouburg
677:, 1675),
669:, 1662),
589:religious
381:Heemskerk
368:in 1583.
349:Mennonite
319:Hans Mont
266:, in the
264:Meulebeke
153:Patron(s)
142:Mannerism
94:Education
83:Amsterdam
61:Meulebeke
962:Archived
607:(1600),
535:, 1605,
498:Georgica
494:Bucolica
463:Writings
398:, 1602,
284:Kortrijk
138:Movement
109:Painting
57:May 1548
1077:in the
905:at the
455:in the
432:of the
366:Holland
362:Haarlem
325:of the
179:painter
158:Haarlem
117:writing
873:(1627)
865:(1627)
857:(1613)
849:(1613)
841:(1611)
833:(1610)
825:(1609)
817:(1604)
809:(1603)
801:(1600)
793:(1600)
785:(1600)
777:(1599)
769:(1597)
761:(1595)
702:. The
596:Legacy
502:Virgil
453:Kermis
422:Prague
353:Bruges
315:Vienna
113:poetry
549:Dutch
489:Iliad
296:Terni
276:Ghent
1083:DBNL
1072:The
654:and
629:The
575:Ovid
568:Vite
564:Vite
227:Life
209:and
193:and
187:poet
72:Died
54:Born
753:(?)
745:(?)
577:'s
500:of
496:en
379:in
294:in
282:in
274:in
205:of
173:or
23:or
1095::
922:^
895:^
722:,
658:.
650:,
638:,
512:.
347:a
339:,
329:.
255:,
189:,
185:,
181:,
115:,
111:,
85:,
63:,
1081:(
689:(
681:(
673:(
665:(
27:.
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