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found in the works of many painters who never saw the originals. His landscapes use a high viewpoint with a high horizon, but his grasp of aerial perspective is far from complete. He uses a consistent and effective colour scheme in his landscapes, which was influential on later landscape painting. The foreground is dominated by brownish shades, while "the middle ground a bluish green and the background a pale blue", creating an effective sense of recession into the distance; "When combined with the frequently hard-toned browns, greens and blues that alternate with significant areas of white, a sense of impending doom is created by the threatening clouds, the capricious and sharply pointed contours of the rocks and the crowding together of natural elements."
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Patinir's large vistas combine observation of naturalistic detail with lyrical fantasy. The steep outcrops of rocks in his landscapes are more spectacular versions of the group of very individual formations just around his native Dinant. These became a part of the world landscape formula, and are
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Patinir often let his landscapes dwarf his figures, which are of very variable quality. The larger ones were sometimes painted by other artists. Such specialisation had become common in the Low
Countries at the time. Many of his works are unusually large for Netherlandish panel paintings of the
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202:" ("the good landscape painter"), thus creating a new word for this type of painter. He had three daughters, two from the first marriage and one from the second. He operated a large workshop with assistants in Antwerp but he is not known to have registered any pupils with the Antwerp guild.
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Les rochers par lesquels l'art gothique suggère conventionnellement un site sauvage et désertique, sont présents. Comme d'aucuns l'ont remarqué, ces pics rocheux qui vont devenir chez
Patinier, indissociables de l'évocation d'un paysage ressemblent à ceux qu'il a pu voir dans la région
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Mais il va de soi que les paysages représentés ne sont jamais dans leur ensemble la transposition de sites existants. L'espace tel que le conçoit
Patinier est d'un autre ordre que celui qui s'offre au spectateur dans la
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683:"The Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox by Joachim Patinir (cat. 378)"
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Patinir married first to
Francisca Buyst, a daughter of the painter Edward Buyst of Dendermonde. After the death of his first wife he married Johanna Noyts, on 5 May 1521. Patinir's friend
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There are only five paintings signed by
Patinir, but many other works have been attributed to him or his workshop with varying degrees of probability. The ones that are signed read:
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92:. Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter. He effectively invented the
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The
Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox
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in Madrid displayed 21 pictures listed as by
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was the inspiration for
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Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 30 April 2022. Subscription required
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in 1515. He lived and worked in
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Patinir was a friend of not only Dürer, but also of the leading Antwerp painter
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attended his second wedding and painted his portrait. Dürer called Patinir "
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Joachim Patinir (ca. 1485–1524) and Landscape Painting in the Low Countries
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721:. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1988.
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Joachim Patinir: Landscape as an Image of the Pilgrimage of Life
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Landschaft zur Andacht: die Weltlandschaften Joachim Pateniers
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233:"), reflecting his place of origin. A 2007 exhibition at the
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The John G. Johnson Collection: A History and Selected Works
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521:, oil on panel, 125 cm × 170 cm (49.2 × 66.9 in),
714:. Los Angeles: The J. Paul Getty Museum, 2005. 210, 212–13.
689:. A Philadelphia Museum of Art free digital publication.
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Landscape with the Destruction of Sodom and Gomorrah
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712:Symbols & Allegories in Art: The Hereafter
707:(Princeton: Princeton University Press, 1968).
244:Geological inspiration: detail from Patinir's
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353:Landscape with St John the Baptist Preaching
1143:Master of the Amsterdam Death of the Virgin
1051:Master of the Legend of St. Ursula (Bruges)
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735:. Phaidon. Arts & Ideas, 2004. 321.
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392:St Christopher Bearing the Christ Child
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274:Landscape with Charon Crossing the Styx
213:became the guardian of his daughters.
225:, the "D" in his signature signifying
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1214:Works by Early Netherlandish masters
1056:Master of the Legend of the Magdalen
636:Hans Devisscher. "Patinir, Joachim."
605:Cinq siècles de peinture en Wallonie
129:Landscape with the Flight into Egypt
1041:Master of the Legend of St. Barbara
103:, with whom he often collaborated.
1234:Members of the Guild of Saint Luke
1046:Master of the Legend of Saint Lucy
525:, Monasterio de San Lorenzo, Spain
317:, oil on panel, 173× 155 cm,
134:Royal Museum of Fine Arts, Antwerp
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1036:Master of the Embroidered Foliage
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1031:Master of the Antwerp Adoration
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308:The Temptation of Saint Anthony
667:, exhibition "Patinir", 2007,
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1133:Jacob Cornelisz van Oostsanen
1061:Master of the Lille Adoration
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105:The Temptation of St Anthony
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66:Flemish Renaissance painter
37:Portrait of Joachim Patinir
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1081:Master of the Prodigal Son
1066:Master of the Lübeck Bible
728:. Munich 1977 (microfiche)
681:Atkins, Christopher D. M.
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562:Early Renaissance painting
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448:Metropolitan Museum of Art
223:(Opus) Joachim D. Patinier
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200:der gute Landschaftsmaler
64:– 5 October 1524), was a
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334:Landscape with St Jerome
188:Kunsthistorisches Museum
789:Early Netherlandish art
731:Smith Chipps, Jeffery.
411:St Jerome in the Desert
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717:Falkenburg, Reindert.
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572:Further information:
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808:Active mainly in the
754:at Wikimedia Commons
1274:Ghent-Bruges school
1229:Guild of Saint Luke
1101:(mostly present-day
861:Melchior Broederlam
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156:Guild of Saint Luke
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1026:Master of Affligem
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545: 1510
523:El Escorial
519: 1520
496:, Rotterdam
490: 1520
444: 1512
418: 1520
315: 1515
267:Innovative
62: 1480
1307:Categories
598:dinantaise
450:, New York
396:Rockoxhuis
1193:The Hague
1178:Brussels
398:, Antwerp
254:pinnacles
246:St Jerome
209:in 1524.
153:Antwerp's
145:Bouvignes
74:landscape
609:Brussels
601:réalité.
556:See also
379:, Madrid
340:, Madrid
321:, Madrid
281:, Madrid
190:, Vienna
149:Wallonia
82:Wallonia
55:Patenier
1202:General
1188:Tournai
1168:Antwerp
817:Belgium
800:artists
698:Sources
424:, Paris
207:Antwerp
86:Antwerp
78:Flemish
70:history
18:Patinir
1173:Bruges
422:Louvre
286:time.
258:Dinant
231:Dinant
160:Bruges
141:Dinant
43:after
1183:Ghent
579:Notes
338:Prado
319:Prado
279:Prado
229:("of
168:Genoa
162:with
45:Dürer
217:Work
72:and
256:of
143:or
68:of
39:by
1309::
685:.
620:^
542:c.
540:,
516:c.
514:,
487:c.
485:,
441:c.
439:,
415:c.
413:,
312:c.
271::
174:.
59:c.
1106:)
819:)
781:e
774:t
767:v
248:(
57:(
20:)
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