Jan van Scorel

Britannica Concise Encyclopedia: Jan van Scorel

(born August 1495, Schoorel, Habsburg Netherlands — died Dec. 6, 1562, Utrecht) Dutch humanist, architect, engineer, and painter. He studied briefly with Jan Gossart, who encouraged him to travel. Five years of work and study in Europe eventually took him to Rome. Returning to Holland in 1524, he introduced such Italian Renaissance elements as nudes, Classical draperies and architecture, and spacious imaginary landscapes. His greatest works are his portraits, which show his gift for characterization. He successfully combined the idealism of Renaissance Italy with the naturalism of northern European art in his paintings, and he bequeathed the style to successive generations of Dutch artists.

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Art Encyclopedia: Jan van Scorel

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(b Schoorl, nr Alkmaar, 1 Aug 1495; d Utrecht, 6 Dec 1562). North Netherlandish painter and ecclesiastic. He was one of the first north Netherlandish artists to visit Italy, and his return to Utrecht in 1524 can be regarded as a turning-point in the history of painting in the northern Netherlands. The important role Scorel played in introducing Italian art in the north was recognized even by contemporary writers and was reiterated slightly later by van Mander, who noted that Frans Floris and others called Scorel 'the torchbearer and pioneer of our arts in the Netherlands'.

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Columbia Encyclopedia: Jan van Scorel

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Scorel, Jan van (yän vän skō'rəl), 1495-1562, Dutch portrait and religious painter, influenced by Gossaert in Utrecht and by Dürer in Nuremberg. About 1521 he visited Palestine and later Rome, where he acted as overseer of the Vatican gallery. On his return to Utrecht, he became a priest and later a canon. Many of his major religious paintings have perished. Well known are his Virgin and Child (Berlin), portraits of pilgrims from the Holy Land (museums in Utrecht and Haarlem), and Magdalen (Rijks Mus.). Scorel was the master of Antonio Moro and of Heemskerk. His style is characterized by a combination of northern interest in realistic observation and effects of light and shadow with the feeling for statuesque dignity imparted by the Italian High Renaissance.

Wikipedia: Jan van Scorel

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The Baptism of Christ by Jan van Scorel (c.1530) Panel, Frans Halsmuseum, Haarlem

Cornelis Aerentsz van der Dussen by Jan van Scorel (c.1535) Panel,

Jan van Scorel (1495, Schoorl - December 6, 1562, Utrecht) was an influential Dutch painter credited with the introduction of High Italian Renaissance art to the Netherlands. It is not known whether he began his studies under Jan Gossaert in Utrecht or with Jacob Cornelisz in Amsterdam, but it certain that it was the master painters he would meet later in his life who would have the greatest effect on his technique. Van Scorel began traveling through Europe in his early twenties, first heading to Nuremberg and then to Austria. It was there, in 1520, that he completed his first representative work, the "Sippenaltar" in St. Martin's church in the village of Obervellach. Giorgione served as a considerable influence on van Scorel during a tenure in Venice. Upon leaving Venice, van Scorel passed through Rome and made a pilgrimage to the Holy Land. His experiences in Jerusalem are depicted in many of his later works.

In 1521, van Scorel returned to Rome where he met Pope Adrian VI, who appointed him painter to the Vatican. He himself sat for a portrait. Van Scorel enjoyed the influence of Michelangelo and Raphael, and succeeded Raphael as Keeper of the Belvedere.

Upon his return to the Netherlands in 1524, he settled in Haarlem where he began a successful career as a painter and a teacher. Van Scorel was a very educated man and skilled as an engineer and an architect, as well as an artist. He was also multi-lingual, no doubt as a result of his travels.

Considered to be the leading Netherlandish Romanist, van Scorel moved to Ghent for painting contracts before moving to Utrecht for the same reason, where he died in 1562, leaving behind a wealth of portraits and altarpieces. Though many of his works fell victim to the Iconoclasm in 1566, some still remain and can be seen primarily at museums in the Netherlands.

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