WILLEBOIRTS BOSSCHAERT, Thomas - b. 1614 Bergen op Zoom, d. 1654 Antwerpen - WGA

WILLEBOIRTS BOSSCHAERT, Thomas

(b. 1614 Bergen op Zoom, d. 1654 Antwerpen)

Flemish painter and printmaker. He moved to Antwerp in 1628, and entered the studio of Gerard Seghers for eight years. In 1637 he became an Antwerp citizen and joined the Guild of St. Luke. He was in close contact with Rubens, and he, too, was involved in the execution of the Torre de la Parada compositions. That work is lost.

Willeboirts was influenced by Van Dyck’s later style and he made Rubensian compositions in a Van Dyck style. To a great extent he worked for commissions by the Stadholder of Holland, Frederik Hendrik and his wife Amalia van Solms. After 1641 he executed dozens of commissions for mythological, allegorical and religious subjects, often in a landscape setting, especially for the court of the House of Orange in The Hague.

Bosschaert shows himself to be a faithful follower of Van Dyck, whose languorous style he manages to adapt in his own virtuoso way. The significance of his work for the Northern Netherlands is apparent from the unmistakable influence it exerted on Dutch history painters, such as Ferdinand Bol.

Bacchant with Roemer
Bacchant with Roemer by

Bacchant with Roemer

Historical Allegory
Historical Allegory by

Historical Allegory

The painting depicts Mars Receiving the Weapons from Venus and Vulcan. It is a historical allegory with probably Friedrich Wilhelm, Elector of Brandenburg, as Mars and Louisa Henrietta, Countess of Nassau, as Venus.

Self-Portrait with Palette and Brushes
Self-Portrait with Palette and Brushes by

Self-Portrait with Palette and Brushes

Triumph of Love and Beauty
Triumph of Love and Beauty by

Triumph of Love and Beauty

Venus Mourning the Death of Adonis
Venus Mourning the Death of Adonis by

Venus Mourning the Death of Adonis

Willeboirts and his workshop executed various versions of the Venus and Adonis theme.

Venus and Cupid
Venus and Cupid by

Venus and Cupid

Particularly in his secular works Bosschaert shows himself to be a faithful follower of Van Dyck, whose languorous style he manages to adapt in his own virtuoso way.

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