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Jan Lievens

(b Leiden, 24 Oct 1607; d Amsterdam, 4 June 1674). Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise. Nonetheless, he became a renowned portrait painter and draughtsman, and his drawings include some of the finest examples of 17th-century Dutch portraiture in the medium.

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Wikipedia: Jan Lievens
Magdelana by Jan Lievens
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Magdelana by Jan Lievens

Jan Lievens (Oct 24 1607, Leiden – buried June 8 1674, Amsterdam) was a Dutch painter and visual artist. In his early years he was a student of Pieter Lastman in Amsterdam. After two years as an apprentice he began his career as an independent artist at age twelve in Leiden.

Lievens collaborated and shared a studio with Rembrandt van Rijn in 1626. Their collaboration was intimate enough to cause difficulties in the attribution of works from this period. Lievens showed talent for painting in a life-size scale, and his dramatic compositions suggest the influence of the Caravaggisti. In Constantijn Huygens' assessment, Lievens was more inventive, yet less expressive than Rembrandt.[1] The two men split in 1631, when Rembrandt moved to Amsterdam and Lievens to England. In 1656 Rembrandt still owned paintings by his former friend.

During his time in England Lievens painted a portrait for Thomas Howard, 21st Earl of Arundel, and became influenced by the works of Anthony van Dyck. Lievens worked in Antwerp, The Hague, and Berlin, returning to Amsterdam in 1655. After his first wife died he married a sister of Jan de Bray in 1648. At the end of his life Lievens had increasing financial difficulties and his family voided all claims of inheritance on his death due to his debts.

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Art Encyclopedia. The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc.. All rights reserved.  Read more
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