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achieved through a rational image design. The figures were brought to the foreground and often recurring groups of figures must have been based on workshop templates. The design of various compositions relied on prints of
Albrecht DĂĽrer. The adoption of a workshop style explains why it is difficult to attribute works to him on style-critical grounds. Van Overbeke himself is believed to have spent a lot of his time traveling abroad to meet with his patrons. Unlike other workshops in Antwerp, the van Overbeke workshop is not known for serially produced altarpieces of the passion of Christ or the life of the Virgin Mary. Typical traits of van Overbeke's style are the tall figures with somewhat elongated faces and small eyes, broad faces with the hanging angle of the mouth and sunken eyes, and thin hands with long fingers. The landscapes typically contain rock formations.
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1620s his workshop gained commercial success and many assistants were hired. The quality of the output suffered as a result. The paintings of the St Anne Altar for the
Propsteikirche St. Mariä Geburt in Kempen were mainly finished by assistants. Only the underdrawings were executed by Adriaen van Overbeke himself. The altarpieces dated 1510 and 1517 for Lille and Valenciennes were workshop products in which van Overbeke did not even paint the underdrawings. Unlike other Antwerp workshops, the van Overbeke workshop never mass-produced similar designs but rather created works that were tailor-made in response to the specific requirements of patrons.
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297:. The term Antwerp Mannerism was coined by Friedländer in the early 20th century to refer to a transitory phase in Netherlandish art from the late Gothic to works inspired by the Italian Renaissance. The terms "Manier" and "Manierist" were used by Friedländer to refer to the original even unusual motifs in the body of work categorized under this style. The terms carried a pejorative connotation as these works were regarded as inferior to work produced by
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three retables from the goldsmith Willem van
Schorisse in Bruges. It is not known whether these retables were even made. In 1529 he bought gold leaf for three unknown retables from the goldsmith Willem van Schorisse in Bruges. In 1529 he agreed with the dealer Gheerarde van Sulps residing in Aachen to be his exclusive supplier in Aachen for a period of six years.
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113:. The work is still on the high altar of the Propsteikirche. The painted wings of the altarpiece are among the earliest firmly dated paintings in the style of the Antwerp Mannerists and may be attributed to Adriaen van Overbeke himself or his assistants. The carved sections were probably the work of wood-carvers employed in his workshop.
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the (Maagdenhuis, Antwerp) of 1510 is the earliest known work of
Adriaen van Overbeke. It is entirely by van Overbeke's own hand and shows his artistic abilities as a painter. Figures from this altarpiece may have served as the models on which the workshop style of van Overbeke was based. From the
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He was paid for supplying a carved wood altarpiece (destroyed) for the
Hospice of Our Lady in Lille in 1509. He did not undertake the commission himself but as a dealer as he sourced the sculpted elements and the painted wings out to other artists. In 1513 he is documented working on a commission for
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Adriaen van
Overbeke, Christ in the Temple in Debate with Pharisees about the Tribute to Caesar, The Raising of Lazarus, The Baptism of Christ in the River Jordan (exterior left wings); The Entry into Jerusalem, The Purification of the Temple, The Story of the Temptation of Christ in the Wilderness
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Adriaen van
Overbeke is known for the production and supply of carved and polychromed wooden altarpieces with painted shutter wings. These were typically of large sizes. In Antwerp artistic practice this type of altarpiece was created collaboratively by painters and carvers often working within one
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In 1529 he was commissioned to paint an Altar of St Joseph for a patron in Kempen (now lost). In the same year, the
Brotherhood of St Nicholas in Kempen paid him for repairs to their Nicholas altar, which therefore can be assumed to have been his own work. In the same year, he bought gold leaf for
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and other contemporaries. The style of these works was often extravagant. This was reflected in how the folds of the flamboyant and exotic clothes worn by the figures defied gravity. These figures were usually depicted in agitated poses amidst architectural ruins. The earlier works included Gothic
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Van
Overbeke was the head of a large workshop, which employed many assistants. He further developed collaborations with other Antwerp workshops including of painters and sculptors. He appeared therefore in contemporary contracts both as a principal as well as a subcontractor. With the increasing
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Models in his workshop were used to create a workshop style. The workshop style also included compliance with certain conventions regarding the palette which remained very similar over a period of about 15 years. Blue and red dominate in strong tones. Continuity of the workshop style was also
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had left unfinished at his death. This work is considered lost. Van
Overbeke acted as a witness to an agreement made in 1521 between the Franciscan monks of Dortmund and master carver Gieliszoon. The agreement concerned the transportation of a carved wooden altarpiece now in the Petrikirche,
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workshop. This was possible because both belonged to the same guild. Van Overbeke may have run such a workshop. As the commissions required, he also outsourced to, or worked as of, the artists who created the sculpted portions of the retables.
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pursuant to another contract with the Franciscans of Dortmund. This altarpiece is believed to be the large retable that was moved to the Saint Peter's Church (Petrikirche) in Dortmund in 1809. It is referred to colloquially as
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success of his business, he gradually participated less in the execution of works and he became an entrepreneur who relied on workshop assistants and other workshops to create the altarpieces.
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in 1495. He was registered as a master in the records of the Guild from 1508. He lived in a residence called "Schylt van Engelant" ('Shield of England') in the Keizerstraat in Antwerp.
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Rezension Kristin Lohse Belkin / Nico van Hout: (ed.) ExtravagAnt! A forgotten chapter of Antwerp painting, 1500-1530, Antwerpen: Koninklijk Museum voor Schone Kunsten 2005, 239 p.
141:('The golden miracle') due to the golden color of the polychromed sculptures. In 1522 van Overbeke had two pupils, Goyvaert van Roye and a Jeronimus (last name not recorded).
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Very little is known with certainty about Adriaen van Overbeke's origins. Some art historians have speculated that he may be the Ariaen who is mentioned as a pupil of
334:). Adriaen van Overbeke himself was only recently identified with the anonymous master who was given the notname 'Master of the Crucifixion of Antwerp' by Friedländer.
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In 1517 he undertook with the painter Peter de Vleeminck and the carpenter Jan van der Hese to complete for the Franciscans in Valenciennes an altar which the painter
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J. Koldeweij, A. Hermesdorf and P. Huvenne, 'De schilderkunst der Lage Landen: De Middeleeuwen en de zestiende eeuw', Amsterdam University Press, 2006, p. 172-175
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styles, and incorporate both Flemish and Italian traditions into the same compositions. Most of the artists of
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architecture but in later works Renaissance structures became prevalent. The paintings appear to combine
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Dortmund. It is believed that van Overbeke had created the altarpiece together with the sculptor
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde van 1453–1615
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde van 1453–1615
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for the Propsteikirche St. Mariä Geburt ('Provost Church of the Birth of Saint Mary') in
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The artist has only recently been identified with the anonymous master who was given the
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have remained anonymous and only some of the artists have been identified. They include
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There is no mention of the artist in the records of the Antwerp Guild after 1529.
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The Ascension of Christ; and Elijah Fed by the Angel in the Desert
495:(exterior right wings), 1515-1520, Västeras, Kathedraal (Västeras)
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ExtravagAnt! Antwerp pictures for the European market 1500-1525
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and another in the collection Hans JĂĽrg Brumann in Switzerland;
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262:–1525) in the Petrikirche (St Peter's Church) in
209:the painted panels made for the St. Anne Altar (
205:Other works attributed to van Overbeke include:
293:Van Overbeke is considered a representative of
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93:, from St. Anne Altar, St. Martin's Church,
974:Master of the Amsterdam Death of the Virgin
882:Master of the Legend of St. Ursula (Bruges)
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63:'Master of the Crucifixion of Antwerp' by
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887:Master of the Legend of the Magdalen
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176:Retable of the Petrikirche, Dortmund
872:Master of the Legend of St. Barbara
1065:Members of the Guild of Saint Luke
877:Master of the Legend of Saint Lucy
462:Dr. phil. Godehard Hoffmann M.A.,
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867:Master of the Embroidered Foliage
510:Antwerp School, circa 1510-1520,
917:Master of the View of Ste-Gudule
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979:Master of the Figdor Deposition
907:Master of the Morrison Triptych
862:Master of the Antwerp Adoration
79:in the records of the Antwerp
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964:Jacob Cornelisz van Oostsanen
892:Master of the Lille Adoration
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1141:Flemish Renaissance painters
1136:Early Netherlandish painters
1040:Early Netherlandish painting
902:Master of the Mansi Magdalen
224:Maria Cleophas with children
91:Maria Cleophas with children
229:Germanisches Nationalmuseum
188:Triptych of the crucifixion
46:Flemish Renaissance painter
23:Triptych of the crucifixion
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912:Master of the Prodigal Son
897:Master of the LĂĽbeck Bible
560:Winkler Prins encyclopedia
558:"Maniëristen, Antwerpse".
251:the painted panels of the
200:The martyrdom of St Victor
1085:Netherlandish Renaissance
284:The Adoration of the Magi
44:1508 – 1529) was a
1146:Flemish history painters
1115:Nativity of Jesus in art
620:Early Netherlandish art
299:Pieter Coecke van Aelst
153:The Ascension of Christ
123:, Petrikirche, Dortmund
121:Emerentia at her prayer
949:Geertgen tot Sint Jans
807:Vrancke van der Stockt
416:27 August 2019 at the
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25:, Maagdenhuis, Antwerp
1151:Painters from Antwerp
1110:Adoration of the Magi
817:Rogier van der Weyden
812:Goswin van der Weyden
420:at Flemish Primitives
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65:Max Jakob Friedländer
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1080:Northern Renaissance
1075:International Gothic
954:Jan Joest van Calcar
929:Northern Netherlands
926:Active mainly in the
797:Aert van den Bossche
642:Southern Netherlands
639:Active mainly in the
585:at Wikimedia Commons
583:Adriaen van Overbeke
464:Adriaen van Overbeke
401:at arthistoricum.net
379:Adriaen van Overbeke
354:Adriaen van Overbeke
312:Northern Renaissance
222:one panel depicting
38:Adriaen van Overbeke
30:Adriaen van Overbeke
1105:Ghent-Bruges school
1060:Guild of Saint Luke
932:(mostly present-day
692:Melchior Broederlam
645:(mostly present-day
629:Early Netherlandish
562:(8 ed.). 1975.
308:Early Netherlandish
81:Guild of Saint Luke
34:Adrian van Overbeck
1090:Northern Mannerism
1050:Flemish Primitives
857:Master of Affligem
757:Cornelis Liefrinck
752:Adriaen Isenbrandt
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969:Master of Alkmaar
852:Jacob van Utrecht
847:Bernard van Orley
842:Lieven van Lathem
802:Hugo van der Goes
677:Lancelot Blondeel
581:Media related to
396:Dorothy Limouze,
316:Antwerp Mannerism
295:Antwerp Mannerism
50:Antwerp Mannerism
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959:Lucas van Leyden
944:Hieronymus Bosch
822:Jan van Dornicke
742:Gerard Horenbout
672:Ambrosius Benson
662:Alexander Bening
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622:(c. 1420s–1530s)
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707:Pierre Coustain
702:Petrus Christus
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777:Hans Memling
737:Jan Gossaert
722:Jean Delemer
717:Gerard David
687:Dieric Bouts
667:Simon Bening
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468:(in German)
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320:Jan de Beer
260: 1520
214: 1510
1130:Categories
544:(in Dutch)
483:(in Dutch)
434:(in Dutch)
361:(in Dutch)
326:(possibly
218:Euskirchen
134:Jan Wraghe
111:Saint Anne
95:Euskirchen
54:Westphalia
1024:The Hague
1009:Brussels
530:at Codart
414:Archived
322:and the
233:NĂĽrnberg
1033:General
1019:Tournai
999:Antwerp
648:Belgium
631:artists
497:at the
356:at the
227:in the
167:General
103:retable
61:notname
1004:Bruges
107:Kempen
1014:Ghent
338:Notes
271:Style
248:; and
310:and
238:the
185:The
162:Work
71:Life
36:and
330:or
244:in
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67:.
42:fl
32:,
937:)
650:)
612:e
605:t
598:v
266:.
255:(
40:(
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