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225:. A terracotta study for this work is in the Rijksmuseum and it differs from the marble version only in details. This portrait bust shows Verhulst's virtuosity and the naturalism of his style. He removed any tendency to idealize the sitter in this work. An important portrait bust attributed to Verhulst is that of Antonio Lopes Suasso, a leading Jewish merchant and banker in Amsterdam. This works was earlier attributed to Quellinus but is now given to Verhulst on stylistic grounds. In his terracotta portraits he was able to create a living presence through his sensitive handling of the physiognomy and a correct evocation of the sitter's personality.
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255:. It was made at the request of the widow of the Baron and was one of the few private commissions for tomb monuments in the Dutch Republic. It is a variation on the traditional double tomb, which combines two figures, the recumbent dead person, and the other living one raised on an elbow. The widow Anna van Ewsum takes centre stage by gazing straight at the viewer. A statue of the second husband of the widow made by
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121:, this construction project, and in particular the marble decorations that Quellinus and his workshop produced, became an example for other buildings in Amsterdam. Quellinus invited many Flemish sculptors to assist him in the realisation of this project. Many of these collaborators such as his cousin
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In 1663, Verhulst worked in Leiden as an independent master and completed works on municipal buildings and his first funeral monuments. He then moved to The Hague around 1664 and built a network of private patrons in which the van
Reygersbergh family played a pivotal role. In 1663 Verhulst completed
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would become leading sculptors in their own right. The sculptural decorations in the
Amsterdam city hall established the international reputation of Quellinus and his workshop and would lead to many more foreign commissions for the Quellinus workshop including in Germany, Denmark and England. This
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Verhulst is mainly remembered for this many tomb monuments for private and public patrons. His funeral monument for Maria van
Reygersbergh of 1663 established his reputation in this area with its new and imposing style. He made many church monuments erected to commemorate Dutch naval heroes. His
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helped further spread the
Flemish Baroque idiom in Europe. Verhulst held an independent position among Quellinus' co-workers as is apparent from the fact that he was the only one to individually sign works in this project. He also employed his own assistants such as the Flemish sculptor
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Although his style was indebted to Artus
Quellinus, he did not completely adopt Quellinus' classicist tendencies. Verhulst's work is warmer in conception and executed with greater refinement and therein resembles more that of the Antwerp sculptors from the circle of
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a funeral monument for Maria van
Reygersbergh in the church of Katwijk-Binnen. This was the first private commission for this type of work in the second half of the 17th century. His patronage shifted gradually from Amsterdam to
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His portrait oeuvre is rather small, which demonstrates that there was only a limited market for portrait sculptures in the Dutch
Republic. One of his best-known portraits is the marble bust of
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In addition to the monumental commissions he completed, Verhulst made small-scale ivory carvings, a specialty for which his home town
Mechelen was particularly known. A small ivory
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shows his skill in this regard. He has carved the thick, wavy locks of hair of the chubby Christ Child and the heavy drapery with such realism that they appear almost tangible.
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Isaac Israel Suasso, alias
Antonio Lopes Suasso (1614-1685), Baron van Avernas Le Gras, bankier, koopman, 1675 - 1695, toegeschreven aan Rombout Verhulst (1624-01-15 - 1698)
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style in Dutch sculpture. He became the leading sculptor of marble monuments, including funerary monuments, garden figures and portraits, in the Dutch
Republic.
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Rombout Verhulst is best known for his many tomb monuments, but he made also portrait busts, garden sculptures and small-scale works in ivory.
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chief work in this area (though possibly not his most successful creation) is the decorated tomb of the Dutch naval hero
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in Amsterdam. Another important tomb monument was that of Carl Hieronymus Baron van In- en Kniphuizen and
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and Lucas Faydherbe. His work was usually more realistic than that of Quellinus and is less dramatic.
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and the swan" and portrayals of Modesty and Fidelity (ca. 1654), galleries of the
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 5 July 2021.
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Sumptuous Memories, Studies in seventeenth-century Dutch tomb sculpture
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for the galleries and terracotta studies for the bronze doors of the
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as a member of the workshop n Amsterdam of the Flemish sculptor
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was later added to the tomb replacing two putti holding
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Tomb monument of Carel Hieronymus van In- en Kniphuizen
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Epitaph for Johannes of Gheel (ca. 1670), church at
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and draughtsman who spent most of his career in the
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32:(15 January 1624 – buried 27 November 1698) was a
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693:Dutch Art: An Encyclopedia
547:(1680–82), Wandelkerk in
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801:Flemish Baroque sculptors
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107:Artus Quellinus the Elder
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505:(ca. 1675), church at
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462:Theodor Graswinckel
457:(1670) in Amsterdam
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430:Pieterskerk, Leiden
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315:Amsterdam city hall
257:Bartholomeus Eggers
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741:at the Rijksmuseum
729:at the Rijksmuseum
691:Sheila D. Muller,
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592:"Rombout Verhulst"
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484:(1672), church at
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337:Willem de Keyser
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342:The tomb of
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223:Los Angeles
785:Categories
651:(in Dutch)
555:References
549:Middelburg
507:Stavenisse
466:Grote Kerk
446:Aagtekerke
153:Vierschaar
535:Amsterdam
496:Oude Kerk
480:Tomb for
476:Spanbroek
470:the Hague
424:Tomb for
416:Dorpskerk
348:Oude Kerk
329:Amsterdam
319:Amsterdam
263:symbols.
179:The Hague
172:The Hague
111:city hall
103:town hall
99:Amsterdam
49:town hall
529:Tomb of
518:(1676),
511:Tomb of
494:(1674),
464:(1670),
436:Midwolde
428:(1663),
406:Tomb of
396:, Leiden
365:(1657),
299:Tomb of
253:Midwolde
144:Fidelity
65:Mechelen
37:sculptor
676:at the
631:at the
575:at the
524:Utrecht
520:Domkerk
390:Epitaph
243:in the
148:Silence
53:Baroque
34:Flemish
486:Stedum
403:(1662)
385:Leiden
373:plague
367:Leiden
541:Johan
352:Delft
311:Venus
140:Venus
91:Venus
81:Italy
543:and
410:and
377:Fury
363:Waag
196:Work
188:and
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