Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER SEVEN
 

THE BAROQUE IN FLANDERS AND HOLLAND
 

PAINTING
ARCHITECTURE AND SCULPTURE - Part 1, 2, 3, 4

 
 


ARCHITECTURE AND SCULPTURE

 


Hendrick Frans Verbruggen.
 


Hendrick Frans Verbruggen

(b Antwerp, bapt 30 April 1654; d Antwerp, bur 6 March 1724).

Sculptor, architect and book illustrator, son of  Peeter Verbrugghen. He began his career under the book illuminator Jan Ruyselinck but became a master sculptor in 1682, the year he married Susanna Verhulst. He became Dean of the Guild of St Luke in 1689. Most of his work was done for churches. In 1684 he created two limewood side altars (h. 5 m) for the chapel of Our Lady of Good Will at Duffel. Here he introduced into the Netherlands a new motif, derived from the work of Bernini and consisting of an oval painting supported by two flying angels. His communion rails (l. 20 m; 1695) for St Walburgis, Bruges, are a highpoint of Flemish Baroque sculpture; the virtuoso handling of the marble makes them look as if modelled from wax. His tactile sense is best shown in the figure of St Augustine (h. 7 m; 1697), placed under the pulpit of St Augustine’s, Antwerp, in which the grain of the wood is used to suggest the wrinkles of the saint’s face and the texture of his clothes. In the highly original oak pulpit he made for the Jesuits of Leuven (1696–9; Brussels Cathedral), a narrative scene is included under the body of the pulpit, which is united in a curvilinear movement with the supporting beams and the sound-board. In 1713 Henricus-Franciscus went bankrupt, but he continued his work on the marble high altar (1713–19) of St Bavo, Ghent.
 

 


Hendrick Frans Verbruggen. Pulpit
1695-99
Gilded oak, height: 700 cm, width:350 cm
Cathedral of Ste Gudule, Brussels


Hendrick Frans Verbruggen.
Adam and Eve Banished from Paradise (detail of the pulpit)
1695-99
Gilded oak
Cathedral of Ste Gudule, Brussels




Hendrick Frans Verbruggen.
Adam and Eve Banished from Paradise (detail of the pulpit)
1695-99
Gilded oak
Cathedral of Ste Gudule, Brussels

 


Hendrick Frans Verbruggen. Adam and Eve Banished from Paradise
(detail of the pulpit)
1695-99
Gilded oak
Cathedral of Ste Gudule, Brussels


Hendrick Frans Verbruggen. Adam and Eve Banished from Paradise
(detail of the pulpit)
1695-99
Gilded oak
Cathedral of Ste Gudule, Brussels

 


Hendrick Frans Verbruggen. Memorial of Bishop Marius Ambrose Capello
1676
White an black marble
O.-L. Vrouwekathedraal, Antwerp

 


Hendrick Frans Verbruggen. Pulpit
1699-1702
Wood
St Peter and St Paul, Mechelen

 
 

Discuss Art

Please note: site admin does not answer any questions. This is our readers discussion only.

 
| privacy