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410:, in which fruits and vegetables are often shown suspended from a window frame or arrange along a ledge. Van der Hamen adapted Sánchez Cotán compositional style to the conditions of cosmopolitan life in Madrid, using more elaborate objects and foods compositions and objects ranging elaborate confessions, imported Venetian crystals and ceramic vessels along a simple shelf. The objects are silhouetted against a dark background and caught in a powerful light. Their regular, zigzag arrangements and the strong shadows falling on the shelf result in a placid sense of space that is heightened by the impression given by the wafers extending beyond the edge of the shelf towards the viewer.
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341:, a visual poem that parallels the lyric verse of his time, in which he united his skills as portraitist and flower painter to produce one of the most beautiful paintings of the allegory of spring. The large canvas, painted in 1627, shows the goddess of the flowers seated besides a cornucopia of spring flowers. The painting adopts a Flemish compositional type and reveals an interest in the play of light on iridescent fabrics that probably derived in the style of
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objects on stepped stone ledges, thus varying their distances from the light source. The objects represented, fruits vegetables, wood, terra cotta, and crystal are masterfully described. He carefully calculated the distribution of color that casts a shadow and, at the same time, reflects the light. The calculated, red in various tones, weaves the forms into a harmonious whole whose simplicity, at first glance, belies its careful structure.
279:. On van der Hamen's death, twenty of these portraits were inventoried as a single item among his belongings. The portrait of his older brother, Lorenzo van der Hamen, probably belonged to this series. The series itself was a focal point for philosophic speculation on the art of portraiture by some of the most distinguished minds of the time, who frequently praised Juan van der Hamen in verse and prose.
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He also reached great personal fame as a portraitist, being this field, the one that provided him with greater personal success, since still life was considered a lesser genre. He executed a portrait of Philip IV and worked during the 1620s in a series of portraits of the principal intellectuals and
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The still life, which had often been considered a minor genre, flourished throughout the 17th and 18th centuries. In Spain, this particular subject matter was termed bodegón and depicted in an austere gloomy style (tenebrismo). Van der Hamen was considered as the greatest
Spanish still life painter
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Concerned simply with the harmonious arrangement of objects and the accurate representation of texture and light, Van der Hamen arranged the objects represented in geometrical compositions, circles and spheres play. In contrast with the geometric severity of the setting, the artist arranged the
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Van der Hamen is well known as a gifted still life painter of the
Spanish Golden Age, but during his lifetime he was most esteemed by his peers for his versatility—for his portraits, allegories, landscapes, flower paintings, and large-scale works for churches and convents. Today he is remembered
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From 1626 on wards, Van der Hamen made his still lifes more varied and complex than his early ones by placing objects on different levels. This type of composition seems to have originated in Rome during the early 1620s and is seen in works attributed to
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Noted for his versatility, Juan van der Hamen painted religious history paintings; allegories, landscapes, low-life subjects, portraits and still lifes but the last two categories brought him the greatest fame. He served at the courts of
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and the Dallas, Meadows Museum of Art held the exhibition: Juan van der Hamen y León and the Court of Madrid, gathering Van der Hamen's paintings from
Museums around the World and bringing his work to the limelight.
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ancestry. Van der Hamen and his two brothers Pedro and
Lorenzo, both of whom were writers, emphasized their Spanish roots by using all or part of their maternal grandmother's family name, Gómez de León.
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A prolific artist, van der Hamen painted all his works during the first decade of the reign of Philip IV. It is known that he painted more still lifes in 1622 than in any other period of his life.
163:. Prolific and versatile, he painted allegories, landscapes, and large-scale works for churches and convents. Today he is remembered mostly for his still lifes, a genre he popularized in 1620s
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Juan van der Hamen was also a pioneer in the field of flower painting. Van der Hamen probably began painting floral arrangements in response to the flower pieces of
Flemish artists, such as
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One of the features of Van der Hamen's still life painting for which he was best known lay in the depiction of expensive luxury glassware, such as the pieces represented here.
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Van der Hamen's still lifes are painted in a style markedly
Flemish but they reflect the strong influence of those painted at the beginning of the seventeenth century in
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Juan van der Hamen died in Madrid on 28 March 1631, when he was only thirty five years old. His paintings are exhibited today in leading
European and American museums.
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to Madrid as an archero in the King's noble guard before 1586. According to 18th-century sources, he was also a painter, but there is no evidence for this.
308:, in Madrid, for which he painted altars. Few of these paintings are extant. The best surviving examples of his religious work are in the cloister of the
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of the seventeenth century, when that form was revived as a worthy subject in and of itself rather than as an adjunct to a symbolic or narrative work.
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Among Van der Hamen portraits, there is one of a dwarf, painted around 1623 in a powerful naturalistic style. This painting (Madrid,
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on 8 April 1596 in Madrid and was probably born there just days before that date. His father was Jan van der Hamen, a
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As a religious painter Juan van der Hamen worked for several religious institutions in and around Madrid and
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is first recorded on 10 September 1619, when he was paid for painting a still life for the country palace of
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and also served as unsalaried painter of the king. Van der Hamen's artistic activity in the service of the
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Other
Spanish Museums own interesting Works by Van der Hamen besides the excellent pieces from
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Juan van der Hamen's mother was
Dorotea Witman Gómez de León, a half-Flemish woman of noble
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and established the popularity of the new genre of still life in Madrid in the 1620s.
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owns an ensemble of six paintings, one of them a portrait and other attributed. The
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570:"Juan Van der Hamen y León & the Court of Madrid": William B Jordan, p.48
561:"Juan Van der Hamen y León & the Court of Madrid": William B Jordan, p.46
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Juan van der Hamen inherited his father's honorary positions at the court of
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155:(baptized 8 April 1596 – 28 March 1631) was a Spanish painter, a master of
692:, Dallas, Meadows Museum of Art Catalogue, Yale University Press, 2005.
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596:"Hamen y León, Juan van der - The Collection - Museo Nacional del Prado"
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in Madrid, painted in 1625 in a naturalistic tenebristic style.
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and The
Asturias Fine Arts Museum also own one piece each.
644:"Red Digital de Colecciones de Museos de España - Museos"
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One good example of his work as a flower painter is his
360:'s palace in Madrid. Jean de Croy, conde de Solre and
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Food in Painting: From the Renaissance to the Present
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Juan Van der Hamen y León & the Court of Madrid
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Still life with artichokes, figs peaches and apples
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345:. The offering to Flora and the pair of paintings
226:Still life with flowers, artichokes and glassware
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442:Real Academia de Bellas Artes de San Fernando
354:Still Life with a Vase of Flowers and a Puppy
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456:also in Madrid houses another painting
293:In 1626, van der Hamen painted cardinal
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620:"Still Life with Porcelain and Sweets"
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499:Still Life with Porcelain and Sweets
450:Still Life with Porcelain and Sweets
55:Still life with fruits and glassware
72:Juan van der Hamen y Gómez de León
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727:Spanish people of Flemish descent
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306:Monastery of the Descalzas Reales
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286:) anticipated the later made by
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362:Diego Mexia, marqués de Leganés
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732:17th-century Spanish painters
704:Veláquez: Painter of Painters
384:mostly for his still lifes.
23:, the first or paternal
762:Spanish still life painters
522:Still life with Candy boxes
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706:. Cologne: Taschen, 1999.
213:, to the north of Madrid.
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503:Thyssen-Bornemisza Museum
446:Thyssen-Bornemisza Museum
347:Still Life with a Vase of
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747:Spanish bodegón painters
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675:. Reaktion Books, 2004.
462:Granada Fine Arts Museum
269:Juan Pérez de Montalbán
175:Juan van der Hamen was
159:paintings, also called
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372:Royal Palace of Madrid
332:Jan Brueghel the Elder
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145:Juan van der Hamen y
59:Museum of Fine Arts,
600:www.museodelprado.es
584:Prado Museum, Madrid
273:Juan Ruiz de Alarcón
257:Francisco de Quevedo
480:Vase and Fruit bowl
343:Juan Bautista Maino
295:Francesco Barberini
686:Jordan, William B.
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540:Still life in the
448:preserves a piece
420:Agostino Verrocchi
408:Juan Sánchez Cotán
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265:Jose de Valdivieso
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580:Offering to Flora
542:Kunstmuseum Basel
350:Flowers and a Dog
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648:ceres.mcu.es
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86:8 April 1596
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21:Spanish name
757:1631 deaths
752:1596 births
379:Still lifes
304:, like the
109:Nationality
721:Categories
654:2020-03-30
629:2020-03-30
605:2020-03-30
528:. Granada.
238:Philip III
157:still life
137:still life
82:1596-04-08
438:The Prado
288:Velázquez
242:Philip IV
203:Philip II
161:bodegones
133:bodegones
486:. Madrid
424:Zurbarán
326:, Madrid
211:El Pardo
188:Brussels
184:courtier
177:baptized
149:Gómez de
129:Movement
123:Painting
19:In this
322:, 1627
228:, 1627
195:Toledan
181:Flemish
113:Spanish
61:Houston
25:surname
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507:Madrid
460:. The
452:. The
440:. The
404:Toledo
398:, 1627
302:Toledo
165:Madrid
90:Madrid
549:Notes
217:Works
207:crown
153:León
708:ISBN
694:ISBN
677:ISBN
418:and
352:and
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171:Life
97:Died
76:bapt
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