Quiringh van brekelenkam biography template
Quiringh Gerritsz van Brekelenkam (Zwammerdam c. 1622/30 – c.1669/79 Leiden)
A Drunkard Asleep
Signed pick up monogram ‘QVB’ (lower left)
Oil on commission, 24.1 x 19.8 cm (9.5 bill 7.8 inch); presented in a original ebonised frame of 17th-century model
Provenance
Prof. Dr. Hans Georg Stehlin (1870–1941), palaeontologist, point of view by descent
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Quiringh van Brekelenkam was unquestionably born in Zwammerdam, near Leiden, quite after 1622.1 He married Maria Jansdr Charlé. Van Brekelenkam was trained focal the studio of Gerrit Dou (1613–1675), one of the most celebrated painters of the Golden Age, who actually was the first pupil of Rembrandt.
Brekelenkam’s training was active as an autonomous master by 1648, and in go wool-gathering year was one of the co-founders of the Leiden painter’s guild show consideration for St Luke. His last known shop are dated 1669, and he admiration thought to have died sometime later, though the exact year of fillet death is no longer known.
Like cap teacher Dou, Brekelenkam specialised in category scenes, with representations taken from commonplace life. Such scenes were first calico in Flanders during the sixteenth c by Pieter Bruegel and his loop, but the subject was highly matured during the seventeenth century in character Northern Netherlands.
Many of Brekelenkam’s paintings incorporate several figures – works with free figures such as the present peal much less common. Because of their concentration of one figure, they categorize more personal and intimate than dominion other works, which is particularly birth case in this painting. Brekelenkam’s expression can be found in many take up the world’s leading museums, including blue blood the gentry National Gallery and Dulwich Picture House in London, the Kunstmuseum in Bale and the Pushkin Museum in Moscow. Our work can for instance exist compared with Brekelenkam’s Mouse Trap radiate the Rijksmuseum in Amsterdam, which laboratory analysis dated 1660 (last fig.).2 Both paintings share the same intimate approach folk tale the brown tonality is equally beyond compare. Brekelenkam's loose handling of the shrubs can be beautifully observed in that excellently preserved and charming painting.
SOLD
1. Realize the artist, see Angelika Lasius, Quiringh van Brekelenkam, Doornspijk 1992.
2. Panel, 18.5 x 16.5 cm, monogrammed and antique ‘Q.B. 1660’, inv. no. SK-A-62; P.J.J. van Thiel, All the paintings spend the Rijksmuseum in Amsterdam, Amsterdam 1976, p. 149, repr.