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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
new3/Jan van Bijlert-249328.jpg
mk56
oil on panel,in a carved and gilt wood frame
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Jan van Bijlert
Musical Company
new19/Jan van Bijlert-537784.jpg
Oil on panel, 97 x 115 cm
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Jan van Bijlert
Johannes de Evangelist.
new24/Jan van Bijlert-883535.jpg
Date ca.1625-30
Medium Oil on canvas
Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in)
cjr
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Jan van Bijlert
Johannes de Evangelist
new25/Jan van Bijlert-647837.jpg
1625-30
Medium Oil on canvas
Dimensions 94.3 x 77.6 cm (37.1 x 30.6 in)
cyf
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Jan van Bijlert
Music society
new25/Jan van Bijlert-373963.jpg
c 1640. Oil on canvas
17th century
cjr
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Jan van Bijlert
Virgin and Child
new26/Jan van Bijlert-966547.jpg
circa 1635(1635)
Medium oil on canvas
cyf
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Jan van Bijlert
Entremetteuse
new26/Jan van Bijlert-885859.jpg
circa 1625-1630
Medium oil on canvas
cyf
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Jan van Bijlert
St John the evengelist
new26/Jan van Bijlert-368776.jpg
circa 1625-30
Medium oil on canvas
Dimensions 94.3 x 77.6 cm
cyf
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Jan van Bijlert
A Concert
new26/Jan van Bijlert-567875.jpg
oil on canvas
Dimensions 103.5 x 144.5 cm
cyf
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Jan van Bijlert
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.
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