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164:. Lambrecht Dentijn, Jan Carpentero, Ferdinand Verhoeven, Peter Iven, Michiel Dierickxen, Jan Peeters and others. The members undertook to meet monthly to show and discuss their works and enjoy the tuition of the older generation of painters such as Herreyns. At the end of 1800 the pre-existing artist organisation
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After invading the
Austrian Netherlands in 1792, the French abolished the existing school system and as a result, Herreyns lost his academic position. Following the creation of central schools by the French, Herreyns returned to Antwerp in 1795 to become a teacher of drawing at the central school of
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His educational influence now eclipses his reputation as a painter. Herreyns is considered the last follower of the
Flemish baroque tradition founded by Peter Paul Rubens. He was a good colorist (tending towards the dark and red) and a draughtsman with a precise line, but his work shows a certain
81:. His grandfather Jacob Herreyns the younger was also a painter. His father Jacob III Herreyns was a painter and decorator. His uncle Daniel Herreyns the younger was a sculptor. He got his initial training from these relatives. Subsequently he studied at the
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His religious compositions stand in the Rubens tradition, which he had studied initially under his master
Balthasar Beschey, who painted in the 17th century Flemish Baroque style. Herreyns received many commissions from religious institutions in
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was one of his teachers. The young painter won in 1764 the first prize for painting from life at the
Academy. He completed his studies in the same year. A year later he became one of the six director-teachers of the Academy as the replacement of
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the department of Deux-Nèthes. In 1797 he saved 328 paintings from the churches and monasteries that had been ordered closed by the French occupiers. Many of these paintings had in fact been stolen. He worked on the return of Rubens' paintings
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where he got married. He was appointed as a director of the local drawing school. This school was renamed 'Academie van beeldende kunsten' (Academy of Visual Arts) in 1772 and was placed under the protection of
123:. He taught a few arts subjects in Mechelen and worked on many commissions. He was offered a position by the Academy of Brussels but despite the attractive salary offered he decided to remain in Mechelen.
179:(Special school of painting, sculpture and architecture of Antwerp). When the school was renamed an academy in 1804, Herreyns could maintain his position which he would hold until his death.
233:, then in the Saint-Michael's Abbey. The king immediately decided to appoint Herreyns as his court painter, although in reality Herreyns never went to Sweden. The Austrian Emperor
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to set up a museum in the former
Franciscan monastery in Antwerp. In 1815, 38 of the 63 pictures removed by the French were added to its collection.
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Name variations: Guillaume
Jacques Herreyns, Willem Jacob Herreijns, Willem Jacob Herrijns, Willem Jacob Herryns, Guillaume Jacques Herreijns
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Mechelen to design a series of floats on the occasion of the celebrations for the thousandth anniversary of the city's patron saint
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302:(1813). His work can be found in the Sint-Jan Baptist en Evangelist in Mechelen and the Royal Museum of Fine Arts in Antwerp.
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in
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Herreyns’ work was very highly regarded in his time. During a visit to
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and also designed the triumphal arches. The designs were inspired by the designs of Rubens for the 1635
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In 1800 Herreyns was appointed a teacher-director of the former
Antwerp Academy, which had been renamed
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also praised his work during his visit to Mechelen and Herreyns painted two portraits of the emperor.
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who had also been a pupil of Balthasar Beschey. In 1767 Herreyns left the Academy and travelled.
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Herreyns was a scion of a family of artists. His great-grandfather was the painter and printmaker
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for which he painted large religious paintings. In 1775 he was commissioned by the
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l'École spéciale de peinture, sculpture et architecture d'Anvers
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Upon his return to Belgium in 1771 he went to live in
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85:where the prominent history and portrait painter
356:Twee altaarschilderijen van de kerk van Gijzegem
49:, 10 June 1743 – Antwerp, 10 August 1827) was a
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377:in Biographie Nationale, Volume 9, p. 288-291
292:Portrait of the painter Andries Cornelis Lens
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231:The Purification of the Virgin
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27:Flemish painter (1743–1827)
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18:Guillaume-Jacques Herreyns
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281:Royal Museum of Fine Arts
65:and the last follower of
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279:in Hemiskem, now in the
150:Balthasar Paul Ommeganck
129:Our Lady with the parrot
102:Portrait of the painter
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170:Genootschap der Kunsten
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481:Painters from Antwerp
433:at Wikimedia Commons
431:Willem Jacob Herreyns
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306:References
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59:portraits
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