The Concise Oxford Dictionary of Art and Artists (71 page)
Read The Concise Oxford Dictionary of Art and Artists Online
Authors: Ian Chilvers
Bratby , John
(1928–92).
British painter and writer. Bratby was a versatile artist: he painted portraits, still lifes, figure compositions, landscapes, and flower pieces, and also designed film sets. In the years after the Second World War he was one of the group of harsh and austere painters of domestic life who were known as the
Kitchen Sink School
. Later his work became lighter and more exuberant. Among his publications are the novel
Breakdown
(1960) and a book on Stanley
Spencer
(1970).
British painter and writer. Bratby was a versatile artist: he painted portraits, still lifes, figure compositions, landscapes, and flower pieces, and also designed film sets. In the years after the Second World War he was one of the group of harsh and austere painters of domestic life who were known as the
Kitchen Sink School
. Later his work became lighter and more exuberant. Among his publications are the novel
Breakdown
(1960) and a book on Stanley
Spencer
(1970).
Bray , Jan de
(
c.
1627–97).
Dutch painter, principally of portraits. He worked in Haarlem and his vigorously characterized work shows the lasting influence of
Hals
in the city, although de Bray's handling is much smoother, in the manner of van der
Helst
. Jan's father,
Salomon
(1597–1664), was an architect and painter of biblical and allegorical scenes. He wrote a book,
Architectura Moderna
(1631), describing the buildings of Hendrick de
Keyser
.
c.
1627–97).
Dutch painter, principally of portraits. He worked in Haarlem and his vigorously characterized work shows the lasting influence of
Hals
in the city, although de Bray's handling is much smoother, in the manner of van der
Helst
. Jan's father,
Salomon
(1597–1664), was an architect and painter of biblical and allegorical scenes. He wrote a book,
Architectura Moderna
(1631), describing the buildings of Hendrick de
Keyser
.
Bredius , Abraham
(1855–1946).
Dutch art historian and collector. Bredius was particularly noted for his archival research and published a large amount of new documentation relating to 17th-cent. Dutch artists. His best-known work is his complete illustrated catalogue of
Rembrandt's
paintings, originally published in German in 1935 and then in an English edition in 1937; a second English edition, revised by Horst Gerson , Bredius's collaborator on the original edition, appeared in 1969. It is still a standard work (although the illustrations are of poor quality) and the Bredius numbering system is widely used in Rembrandt scholarship. Bredius made a choice collection of Dutch paintings; many were presented or bequeathed by him to the
Rijksmuseum
in Amsterdam and the
Mauritshuis
in The Hague (of which he was director from 1889 to 1909) and others are in the Bredius Museum in The Hague. His reputation as a connoisseur was somewhat blighted because he was deceived by the work of the Vermeer forger Han van Meegeren (1880–1947); however, Bredius was very old at the time (1937) and almost all his contemporaries were similarly deceived.
Dutch art historian and collector. Bredius was particularly noted for his archival research and published a large amount of new documentation relating to 17th-cent. Dutch artists. His best-known work is his complete illustrated catalogue of
Rembrandt's
paintings, originally published in German in 1935 and then in an English edition in 1937; a second English edition, revised by Horst Gerson , Bredius's collaborator on the original edition, appeared in 1969. It is still a standard work (although the illustrations are of poor quality) and the Bredius numbering system is widely used in Rembrandt scholarship. Bredius made a choice collection of Dutch paintings; many were presented or bequeathed by him to the
Rijksmuseum
in Amsterdam and the
Mauritshuis
in The Hague (of which he was director from 1889 to 1909) and others are in the Bredius Museum in The Hague. His reputation as a connoisseur was somewhat blighted because he was deceived by the work of the Vermeer forger Han van Meegeren (1880–1947); however, Bredius was very old at the time (1937) and almost all his contemporaries were similarly deceived.
Breenbergh , Bartolomeus
(1598/1600–1657).
Dutch painter, with
Poelenburgh
the leading pioneer of the taste for Italianate landscapes in the Netherlands. Breenbergh spent most of the 1620s in Italy and thereafter worked in Amsterdam. His style as a painter is very similar to Poelenburgh's, his biblical and mythological characters set in well-balanced views of the Roman Campagna, often complete with classical ruins. His drawings are much fresher and bolder, and have often passed under the name of
Claude
, as is the case with two examples in Christ Church, Oxford. Late in his career Breenbergh turned to figure painting.
Dutch painter, with
Poelenburgh
the leading pioneer of the taste for Italianate landscapes in the Netherlands. Breenbergh spent most of the 1620s in Italy and thereafter worked in Amsterdam. His style as a painter is very similar to Poelenburgh's, his biblical and mythological characters set in well-balanced views of the Roman Campagna, often complete with classical ruins. His drawings are much fresher and bolder, and have often passed under the name of
Claude
, as is the case with two examples in Christ Church, Oxford. Late in his career Breenbergh turned to figure painting.
Breitner , George Hendrik
(1857–1923).
The leading Dutch
Impressionist
painter. His most characteristic early works, influenced by the
Hague School
, were pictures of horsemen, but a visit to Paris in 1884 brought him under the spell of Impressionism. In 1886 he settled in Amsterdam and became particularly associated with scenes of its busy harbour, its architecture, and its bustling street life. The unposed ‘snapshot’ compositions of many of these paintings reflect his interest in photography. After 1910, owing to ill health, he practically ceased to paint.
The leading Dutch
Impressionist
painter. His most characteristic early works, influenced by the
Hague School
, were pictures of horsemen, but a visit to Paris in 1884 brought him under the spell of Impressionism. In 1886 he settled in Amsterdam and became particularly associated with scenes of its busy harbour, its architecture, and its bustling street life. The unposed ‘snapshot’ compositions of many of these paintings reflect his interest in photography. After 1910, owing to ill health, he practically ceased to paint.
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