Jan van Bijlert Portait of a young man,half-length,wearing a breastplate and brooch,wearing a breastplate and brooch with the head of medusa,and the order of the gold Painting ID:: 27343 new3/Jan van Bijlert-249328.jpg
Portait of a young man,half-length,wearing a breastplate and brooch,wearing a breastplate and brooch with the head of medusa,and the order of the gold mk56
oil on panel,in a carved and gilt wood frame
Jan van Bijlert Johannes de Evangelist. Painting ID:: 84003 new24/Jan van Bijlert-883535.jpg
Johannes de Evangelist. Date ca.1625-30
Medium Oil on canvas
Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in)
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Jan van Bijlert Johannes de Evangelist Painting ID:: 87868 new25/Jan van Bijlert-647837.jpg
Johannes de Evangelist 1625-30
Medium Oil on canvas
Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in)
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Jan van Bijlert Music society Painting ID:: 90646 new25/Jan van Bijlert-373963.jpg
Music society c 1640. Oil on canvas
17th century
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Jan van Bijlert Virgin and Child Painting ID:: 95483 new26/Jan van Bijlert-966547.jpg
Virgin and Child circa 1635(1635)
Medium oil on canvas
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Jan van Bijlert Entremetteuse Painting ID:: 97528 new26/Jan van Bijlert-885859.jpg
Entremetteuse circa 1625-1630
Medium oil on canvas
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Jan van Bijlert St John the evengelist Painting ID:: 97686 new26/Jan van Bijlert-368776.jpg
St John the evengelist circa 1625-30
Medium oil on canvas
Dimensions 94.3 x 77.6 cm
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Jan van Bijlert A Concert Painting ID:: 97935 new26/Jan van Bijlert-567875.jpg
A Concert oil on canvas
Dimensions 103.5 x 144.5 cm
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Dutch Baroque Era Painter, ca.1597-1671
Dutch painter. He was the son of the Utrecht glass painter Herman Beerntsz. van Bijlert (c. 1566-before 1615). Jan must have trained first with his father but was later apprenticed to the painter Abraham Bloemaert. After his initial training, he visited France and travelled to Italy, as did other artists from Utrecht. Jan stayed mainly in Rome, where he became a member of the Schildersbent; he returned to Utrecht in 1624. In Rome he and the other Utrecht artists had come under the influence of the work of Caravaggio; after their return home, this group of painters, who became known as the UTRECHT CARAVAGGISTI, adapted the style of Caravaggio to their own local idiom. The Caravaggesque style, evident in van Bijlert's early paintings, such as St Sebastian Tended by Irene (1624; Rohrau, Schloss; see fig.) and The Matchmaker (1626; Brunswick, Herzog Anton Ulrich-Mus.), is characterized by the use of strong chiaroscuro, the cutting off of the picture plane so that the image is seen close-up and by an attempt to achieve a realistic rather than idealized representation.