EERTVELT, Andries van - b. 1590 Antwerpen, d. 1652 Antwerpen - WGA

EERTVELT, Andries van

(b. 1590 Antwerpen, d. 1652 Antwerpen)

Flemish painter. He enrolled as a member of Antwerp’s Guild of St Luke in 1609. In 1615 he married Catherine Vlieger (d. 1627), after whose death he went to Genoa, where he worked for Cornelis de Wael. By c. 1630 he was back in Antwerp, where he had his portrait painted by Anthony van Dyck (1632; Schaezlerpalais, Augsburg). In 1633 Eertvelt married Elisabeth Boots, probably a daughter of the Antwerp painter Jan Boots (b. before 1620).

Eertvelt is regarded as the first Flemish marine painter. Over the years his palette and style changed. His first paintings, mostly of ships in storms (e.g. Sea Battle in a Storm; Staatliches Museum, Schwerin), were painted in greenish-black and brown tones, often using white to highlight the rigging against the dark sea. After his tour of Italy he favoured views of southern harbours, with calm seas painted in soft tones (e.g. Spanish Ships Leaving a Port; Kunsthistorisches Museum, Vienna). In his day Eertvelt was a man of distinction whose artistic qualities were praised by the poet Cornelis de Bie and whose marine paintings were appreciated abroad, some being exported as far as Seville and Lisbon. His pupils included Gaspard van Eyck, Hendrik Minderhout and Matthieu van Plattenberg.

An Estuary Scene
An Estuary Scene by

An Estuary Scene

Andries van Eertvelt is regarded as the first Flemish marine painter.

Battle of Lepanto
Battle of Lepanto by

Battle of Lepanto

Mediterranean Coastal Scene
Mediterranean Coastal Scene by

Mediterranean Coastal Scene

The painting shows a Mediterranean coastal scene with a tower, ships, and figures on the shore.

Sea Battle
Sea Battle by
Ships in Peril
Ships in Peril by

Ships in Peril

The precise origins of Ships in Peril by Andries van Eertvelt cannot be identified, it most likely came from a monastery in Ghent. The work is signed and dated 1623 and is an early example of a genre that was to become exceptionally popular in the Low Countries in the17th century. Although the painting has a moral message, it will have been primarily decorative in purpose like the landscapes from around Brussels.

Two Ships at Anchor
Two Ships at Anchor by

Two Ships at Anchor

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