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or internal light on the church interior. Neefs took this variation in his treatment of light further still, by often depicting nocturnal scenes in church interiors. While nocturnal scenes of church interiors were likely an innovation of
Hendrick van Steenwyck the Elder, Pieter Neefs became one of the principal practitioners of the genre. An important proportion of his work is devoted to such views. Some of these nocturnal scenes were intended as pendants to daylight scenes.
181:, in particular its vast nave. However, rarely did he create realistic depictions of existing architectural structures. Most of his compositions depict imaginary churches, which are often more or less loosely based on real church structures. Neefs would vary elements of the architecture of actual churches to which he added paintings and sculptural details of his own invention.
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Neefs' compositions are characterised by their deeply receding spaces, created through the use of linear perspective and contrasting areas of light and dark. Neefs was very skilled in the handling of tonal variety and by moving from light to shade he was able to bring into play the effect of outside
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Father and son van
Steenwijck and the two generations of the family Neefs painters are considered to be representatives of the Antwerp school of architectural painting. Typical for their style was the use of a rigid linear perspective which offers a view directly down the nave of the church. This
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Pieter Neefs the Elder was a specialist of architectural interiors. His most frequent subject is the interior of churches and cathedrals. He also painted a few interiors of dungeons. His works depict existing churches as well as imaginary churches. On a few occasions he signed his works with
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The year of birth of Pieter Neefs is not known with certainty. It is placed some time between 1578 and 1590. He is believed to have been born in
Antwerp. His father was Aart Neefs, a cloth merchant and innkeeper who had difficulty making ends meet after losing most of his fortune during the
88:. He established himself as a specialist of church interiors, a genre that had been relatively little practiced in Flanders before him. He became so successful with his architectural paintings that he was able to get leading Antwerp painters to paint the staffage in his works.
148:, in particular of the latter. This has led to the assumption by some art historians that he may have studied under either of these artists. Pieter Neefs is known to have painted several copies of Steenwyck compositions, including his earliest dated church interior of 1605.
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such as baptism, communion, marriage, Mass, confession, the giving of alms, etc. All of these activities were often included in a single composition in a church swarming with priests and bristling with statues and paintings.
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Despite his success Pieter Neefs appears to have suffered financial difficulties. His only pupil was
Laureis de Cater, who turned out to have insufficient talent to become admitted as a master to the Guild.
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The artist died some time between
February 1656, when he is recorded dealing with an inheritance, and 1661, when he is recorded as deceased by the biographer
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became painters. Their works were very close to their father's, and attributions of their individual hands can be difficult.
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Pieter Neefs married Maria
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The name of the teacher of Pieter Neefs has not been preserved, In 1610 Pieter became a free master of the
Antwerp
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The works of Pieter Neefs the Elder and
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The figures in the architectural views by the various Neefs were painted by such artists as
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Tilman
Seebass. 'Imago Musicae 1986, Volume 3', Duke University Press, 1987, p. 52
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A church interior with elegant figures strolling and figures attending mass
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312:. Pelican history of art. New Haven: Yale University Press. p. 262.
270:. Pelican history of art. New Haven: Yale University Press. p. 201.
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436:, in: Artibus et Historiae, Vol. 23, No. 46 (2002), pp. 183-193
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Frans
Baudouin. "Neefs." Grove Art Online. Oxford Art Online.
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Rembrandt and the Church Interiors of the Delft School
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The Interior of a Gothic Church with Elegant Company
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