229:. The objects in this vanitas still life not only convey the usual moral lessons of vanitas still lifes but also reference the fate of the executed English king. The composition blends the genres of still life, portraiture and history painting. Andriessen placed on the edge of the table in the painting a letter supposedly written by Death itself telling the viewer how the fate of Charles I exemplified the futility of the pursuit of wealth and power. The leering skull in the still life is almost like a portrait of the dead King, which confronts the viewer with its riveting stare. To the left of the skull are placed the stock symbols of transience such as wilting flowers, bubbles, an extinguished taper and a luxurious pocket watch waiting to be wound. To the right of the skull Andriessen depicted the symbols of Charles' royal power such as the gold crown, the Order of the Garter and the gold sceptre. The artist included a self-portrait on the silver candlestick. It is possible that Andriessen produced this particular work while living in the Dutch Republic. In the Northern Netherlands there was a lot of sympathy for the executed king among the large community of exiled English Royalists and a significant number of Dutch citizens. The painting was clearly intended for an erudite patron who would have been able to appreciate its many obscure references and symbolism and complex political and philosophical message. Other Flemish still life artists were also producing vanitas still lifes on the death of King Charles I for the Dutch market. An example is the
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269:. This painting dated between 1654 and 1659 represents an art gallery with works of important Antwerp masters and can be regarded as a carefully crafted advertisement for the contemporary talent and past legacy of the Antwerp school of painting. The inclusion in the art gallery's collection of a work by Hendrick Andriessen depicting a vanitas still life (bottom left on the right-hand wall, monogrammed HA) shows that he was at the time considered to be a leading painter in Antwerp.
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192:. While most of these symbols reference earthly existence (books, scientific instruments, etc.) or the transience of life and death (skulls, soap bubbles) some symbols used in the vanitas paintings carry a dual meaning: the rose refers as much to the brevity of life as it is a symbol of the resurrection of Christ and thus eternal life. This duality of meaning is shown in Hendrick Andriessen's
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still lifes. This genre of still life offers a reflection on the meaninglessness of earthly life and the transient nature of all earthly goods and pursuits. This meaning is conveyed in these still lifes through the use of stock symbols, which reference the transience of things and, in particular, the
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On stylistic grounds it is assumed that the artist spent time in the
Northern Netherlands (the Dutch Republic), possibly in the Zeeland area. The place of his death is not known with certainty. It was traditionally believed that he died in Zeeland. However, some art historians believe that there is
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paintings. He further painted a number of 'smoker' still lifes (the so-called 'toebackjes'), which depict smoking paraphernalia. Only a few works of the artist are known. The number of works currently attributed to
Andriessen range from six to nine of which five are said to be signed. Andriessen
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who was active in
Antwerp. In particular, the same attributes occur in signed works of the two artists. It is possible that van der Willigen took over Andriessen's studio after his death in 1655. This would mean that Andriessen was living in Antwerp at the time he died. Many paintings formerly
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Vanitasstilleven op een ronde tafel met een schedel, bloemen, een luit, een palet met penselen, boeken, rookgerei, horloge, zonnewijzer, blokfluit, brief, zandloper, kandelaar, zeepbellen en rechts een moorse jongen met een portretje van de schilder in zijn
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futility of earthly wealth: a skull, soap bubbles, candles, empty glasses, wilting flowers, insects, smoke, watches, mirrors, books, hourglasses and musical instruments, various expensive or exclusive objects such as jewellery and rare shells. The term
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still lifes, which are made up of objects referencing the precariousness of life, and 'smoker' still lifes (the so-called 'toebackjes'), which depict smoking utensils. The artist worked in
Antwerp and likely also in the
152:(At Christie's on 25–26 November 2014, Amsterdam, lot 79) is attributed by Fred G. Meijer (1996) to 'anonymous Antwerp 1630-1640' while Dr. Sam Segal has identified it as a characteristic example of Andriessen's work.
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188:. The worldview behind the vanitas paintings was a Christian understanding of the world as a temporary place of fleeting pleasures and sorrows from which mankind could only escape through the sacrifice and
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Also known as: Manke Heyn
Andriesz,; Variant name spellings: Hendrik Andriessen, Hendric Andriessen, Hendrick Andriesz, Hendrick Andriessens, Hendrick Andriesz., Hendrick Andrisen
225:). Because of the presence in the still life of a skull, a crown and sceptre and other related objects it is regarded as a reference to the death by decapitation of King
202:) which shows a rose just rising above a skull in its role as a resurrection flower. Most of Andriessen's vanitas still lifes include a skull as one of the key props.
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623:, A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan, 2012
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Vanitas still life with a skull, a broken 'Roemer', a rose, an hour glass, a nautilus shell, a pocket watch and other objects, all on a draped table
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559:, Catalogue of an exhibition held in 1999 in Washington (National Gallery of Art), Washington (National Gallery of Art), 1999, pp. 67 and 80
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vande edel vry schilder const, inhoudende den lof vande vermarste schilders, architecte, beldthowers ende plaetsnyders van dese eeuw
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of
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added in 1679 flowers to the skull and smoking implements painted by
Hendrick Andriessen in the 1640s to create the
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Andriessen was a specialist still-life painter. His still-life paintings fall generally into the category of
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Monstrous creatures and diverse strange things": The
Curious Art of Jan van Kessel the Elder (1626–1679)
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It is believed he was the
Hendrick Andrisen who was registered as a 'leerjongen' (apprentice) in the
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Volume 2, by Ph. Rombouts and Th. van Lerius, Antwerp, Julius de
Koninck, 1871, p. 93, on
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is derived from the famous line 'Vanitas, Vanitas. Et omnia Vanitas', in the book of the
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Very little is known about the artist's life and career. Hendrick Andriessen was born in
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Godfriedt van Bochoutt Vanitas still life with a poem concerning the death of Charles I
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Vanitas still life with a bunch of flowers, a candle, smoking implements and a skull
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signed his paintings variously using his full signature, his initials or monogram.
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Vanitas still life of a skull, a vase of flowers and smoking implements in a niche
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on the museum website but is attributed to Andriessen by Fred G. Meijer (1985). A
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239:(signed and dated 1668, at Bonhams auction of 23 October 2019, London lot 67TP.
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Hendrick Andriessen was one of the Antwerp painters who collaborated on a
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Vanitas with a skull and a Moorish boy holding a portrait of the painter
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Vanitas with a skull and a Moorish boy holding a portrait of the painter
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Vanitasstilleven met bosje bloemen, kandelaar, rookgerei en een schedel
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In an exceptional example of collaboration between artists in Antwerp,
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From Bonbon to Cha-cha. Oxford Dictionary of Foreign Words and Phrases
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Attributions of work to him are sometimes disputed. An example is the
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Vanitas-Stillleben mit einem Römerglas, einer Rose und einem Schädel
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Vanitas still life with a globe, sceptre, a skull crowned with straw
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Vanitas still life with a globe, sceptre, a skull crowned with straw
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attributed to Pieter van der Willigen are now given to Andriessen.
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The Vanitas Still Lifes of Harmen Steenwyck: Metaphoric Realism
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Most of Andriessen's known oeuvre falls into the category of
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Vanitasstilleven met schedel, roos en roemer, jaren 1630/40
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a connection between Andriessen and the still life painter
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where he was baptized on 23 October 1607. He was known as
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Vanitas still life with a poem on the death of Charles I
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at Koller (Zürich) on 14–19 September 2015, lot 3039
334:, in: The Burlington Magazine 151 (2009), pp. 22–27
574:, ca. 1650 at the Mount Holyoke College Art Museum
331:Hendrick Andriesen's 'portrait' of King Charles I
557:From botany to bouquets: flowers in Northern art
599:Hendrick Andriessen en Nicolaes van Verendael,
160:Vanitas with a skull, mask, globe and bubbles
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215:One of Andriessen's best-known works is the
473:Oxford Treasury of Sayings and Quotations
51:still-life painter. He is known for his
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606:Netherlands Institute for Art History
588:Netherlands Institute for Art History
546:, Edwin Mellen Press, 1990, p. vi-vii
509:Delahunty, Andrew (23 October 2008).
431:Netherlands Institute for Art History
410:Netherlands Institute for Art History
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252:(Gallerie dell'Accademia of Venice).
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186:"Vanity of vanities, all is vanity"
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210:Vanitas still life with a skull
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679:17th-century Flemish painters
356:, Jan Meyssens, 1661, p. 176
674:Flemish still life painters
180:in the bible, which in the
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142:), which is attributed to
555:Arthur K. Wheelock, Jr.,
669:Flemish Baroque painters
392:at Johnson Museum of Art
515:. Oxford: OUP. p.
103:Pieter van der Willigen
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237:Godfriedt van Bochoutt
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645:at Wikimedia Commons
453:13 June 2018 at the
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267:Jacob de Formentrou
258:Cabinet of Pictures
95:Guild of Saint Luke
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619:Nadia Sera Baadj,
571:Vanitas Still Life
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273:References
221:(c. 1650,
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39:, 1607 –
451:Archived
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70:Antwerp
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