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Boeckhorst was a versatile painter who produced history paintings on religious and mythological subjects, allegorical works, genre scenes and portraits. Boeckhorst also worked as a designer of cartoons for tapestries. He is known to have designed eight tapestries on the myths of Apollo. The Musée
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The date of his return to
Antwerp is not known with certainty and estimates vary from 1639 to 1649. It is known that he completed a few unfinished works of Rubens' after Rubens' death in 1640. After his return to Antwerp he received multiple commissions from religious institutions in Flanders
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Jan
Boeckhorst died on 21 April 1668 in Antwerp where he was buried in the Saint James Church. His large collection was sold after his death in a sale which lasted six days and raised the considerable sum of 6,026 guilders. His collection included a complete set of early drawings of Rubens.
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Central in his group portraits is the emphasis on the virtue of strong family bonds, the so-called 'Concordia familiae'. Boeckhorst was skilled in depicting his models in a spontaneous and lively manner. His portraits are of an informal character. He also used backdrop draperies, which in
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From 1626 to 1635 Boeckhorst worked on a commission paid for by the devout merchant
Lodewijk De Roomer to complete 26 works for a chapel in the Falcon monastery in central Antwerp (or for St. Joseph’s chapel in the Antwerp convent of St. Augustine). These works on which he collaborated with
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In the mid 1620s
Boeckhorst moved to Antwerp apparently to study with Peter Paul Rubens. There is no firm evidence that Boeckhorst actually studied under Rubens, only a statement by Rubens’ nephew Philip to that effect. However, a close relationship between the artists during the 1630s is
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are now lost. Between 1627 and 1632 he likely worked closely with
Anthony van Dyck who was during that period back in Antwerp after a long stay abroad. The two artists collaborated on individual works of art while Boeckhorst also produced copies after van Dyck.
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is dated 1646, about 20 years after his arrival in
Antwerp. Because of the few number of signed paintings it has been difficult to attribute works to Boeckhorst with certainty and some attributions are contested among art historians.
259:. Rubens was in overall charge of this project. For the Pompa Introitus Broeckhorst contributed architectural elements on the 'Arch of Isabella' and the figures of 'Securitas' and 'Salus publica' in collaboration with
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Boeckhorst traveled to Italy in 1635. He returned to
Antwerp and in the period 1636–1638 he collaborated with Rubens’ workshop on a large commission to make mythological decorations for the hunting pavilion
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as the second-oldest of twelve children. His family belonged to Münster’s highly respected citizens (Honoratioren) and his father
Heinrich was for a while the mayor of MĂĽnster. Jan Boeckhorst became a
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Alternative names: Johan
Boekhorst, Johan Boeckhorst, Johann Boeckhorst, Boichorst, Bronckhorst, van Boeckhorst, nicknames: Lange Jan, Langen Jan, Langhiano and Langian as well as Doctor Faustus
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movement and typically involved a collaboration between a figure painter and a still life painter. No collaborations with
Boeckhorst on garland paintings have been attributed with certainty.
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There only exist three signed and dated paintings (dated between 1646 and c. 1660) and five that are dated only from 1659–1666. The first signed painting, a
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documented. Boeckhorst likely also briefly trained with Jordaens during Rubens' stay in London in the late 1620s. In Antwerp, Boeckhorst was known as
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419:, is of a monumentally large scale at 217.5 cm in height and 272.5 cm in width. The work shows the influence of Jordaens' genre paintings.
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paintings. Garland paintings are a special type of still life developed in Antwerp by Jan Brueghel the Elder in collaboration with the Italian
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in 1633–1634. He was a regular collaborator with Rubens in the mid 1630s. He first worked on the decorations for the 1635
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Boeckhorst also provided designs for the Antwerp publishers. In the early 1650s he provided several designs for the
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Hans Vlieghe. "Boeckhorst, Jan." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 1 October 2014
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including for the Saint James Church in Bruges and the Saint Michael's Church and Saint James Church in Ghent.
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David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion",
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in the Jesuit order at age 17. He only started his artistic study when he was about twenty-two years of age.
411:(Rubenshuis, Antwerp) on which he collaborated with Frans Snyders. This genre scene, which also acts as an
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then in Wildens’ own collection. After the late 1630s Boeckhorst's collaborations appear to have ceased.
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at the beginning of the 17th century. The genre was initially connected to the visual imagery of the
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near Madrid. For this project Jan Boeckhorst painted decorations after oil sketches by Rubens.
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Review of: Maria Galen, Johann Boeckhorst. Gemälde und Zeichnungen. Hamburg: Baar-Verlag 2012
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Jan Brueghel II (Antwerp 1601–1678) and Jan Boeckhorst (Münster/Rees 1604–1668 Antwerp)
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scenes and portraits in a style influenced by the trio of leading Antwerp painters
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Boeckhorst is believed to have made changes to works by Rubens. He did so with a
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As was common practice among Antwerp painters, Boeckhorst often collaborated as a
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474:(Christie’s, London, 2 July 2013, lot 30). He possibly also enlarged Rubens’
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he likely joined the circle of Dutch and Flemish artists in Rome known as the
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In 1639 Boeckhorst traveled to Italy again where he resided in Rome. In
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preserves 8 preliminary drawings for this Apollo series of tapestries.
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at the request of Jan Wildens in order to form a pendant with the
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German-born Flemish Baroque painter and draughtsman (c. 1604–1668)
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In the past it was believed he might possibly have been born in
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Boeckhorst's portraits are influenced by Anthony van Dyck and
723:. Pelican history of art. New Haven: Yale University Press.
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Anne-Marie S. Logan, Sir Peter Paul Rubens, Michiel Plomp,
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His later works from the 1650s and 1660s include numerous
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Head of a bearded man in profile holding a bronze figure
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imitation of Jordaens, were represented very vividly.
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in Antwerp.File:Sibylle phrygienne (Boeckhorst).jpg
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178:. Boeckhorst also worked as a designer of
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312:Peasants on their way to the market
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620:at historian of netherlandish art
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679:Peter Paul Rubens: The Drawings
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800:17th-century German painters
408:Peasants going to the market
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457:King David playing the Harp
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668:at National Gallery of Art
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257:Cardinal-Infante Ferdinand
47:Portrait of Jan Boeckhorst
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102:Nationality
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575:(in Dutch)
544:References
534:tapestries
399:still life
200:Westphalia
184:tapestries
77:Westphalia
69:circa 1604
506:portraits
486:Portraits
389:painters
387:landscape
283:Philip IV
223:Lange Jan
649:Archived
530:cartoons
526:Flanders
438:cardinal
413:allegory
401:painter
180:cartoons
120:Movement
115:Painting
55:van Dyck
570:at the
434:garland
415:of the
334:Bergues
327:General
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156:Antwerp
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140:MĂĽnster
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