Flemish landscape and furniture painter. He became a master in the Antwerp guild of St. Luke in 1652 and painted numerous panels for Antwerp-made furniture. He was heavily influenced by Jan Brueghel the Elder as well as other Flemish contemporaries including Alexander Keirinckx and Lucas van Uden.
This late Renaissance ebony veneered cabinet from Antwerp is decorated with village landscapes and scenes from daily life by Izaac van Oosten. It is an excellent example of the highly skilled furniture-making practice that flourished in seventeenth-century Antwerp. Cabinet makers employed skilled painters to complete their creations with small pictures. As the popularity of these intricate objects grew, so too did their decoration and the level of quality in the paintings.
This late Renaissance ebony veneered cabinet from Antwerp is decorated with village landscapes and scenes from daily life by Izaac van Oosten. It is an excellent example of the highly skilled furniture-making practice that flourished in seventeenth-century Antwerp. Cabinet makers employed skilled painters to complete their creations with small pictures. As the popularity of these intricate objects grew, so too did their decoration and the level of quality in the paintings.
This painting shows a landscape with elegantly-dressed figures on a path beside a river, with a man and horse in the foreground, a village beyond.
This typical Flemish landscape in the manner of Jan Brueghel the Elder. It shows a landscape with a wagon and travellers passing through a village. Although the influence of Jan Brueghel the Elder is immediately evident, this is one of Isaac van Oosten’s own creations.
The picture shows a river landscape with cattle and travellers, a ruin at the right and a view of a town beyond. This Italianate landscape offers a panoramic view over an extensive river landscape, with a village in the back left and on the horizon.
Izaac van Oosten liked to paint simple, open landscapes favouring Mediterranean landscapes. Since there is no evidence that he ever travelled to Italy, it is assumed that his Italianate landscapes are purely imaginary and based on the works of his contemporaries.
This panel, depicting a summer landscape with a horse and cart and other figures on a path, is signed lower left: J.V.Oosten fecit.
The Fall of Man, with its woodland landscape and minutely described animals, is a characteristic example of Van Oosten’s work. As was often the case with Van Oosten, Adam and Eve may have been the work of a specialist figure painter.
The painting depicts a wooded landscape with drovers and their cattle, a village beyond.
