DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0640
618
WEENIX — WEST.
Weenix, Jan Baptist, born at Amsterdam (1623-1660). This
remarkable animal painter was solid in his execution, brilliant in
lighting, and clear in chiaro-scuro; occasionally he was gaudy, but
all in all he was the most eminent of the group of Dutch painters to
which he belonged. Some of his best works are seen in the Munich
cabinets. A Seacoast with a repulse of Turkish pirates, in the Louvre,
is noticeable for its lighting.
Weenix, Jan, born at Amsterdam (1644-1719). Son and pupil
of the preceding. His works mostly represent dead animals, life-
size. He especially excelled in dead hares, and these are the pictures
on which his fame rests; they are frequently painted with birds and
other game, and rarely a living dog is/ introduced. His masterly
works are at the Louvre, Munich, Hague, Amsterdam, and Berlin
galleries.
Werff, Adrian van der, born near Rotterdam (1659-1722). This
artist pursued the ideal in the midst of the realistic school of his
country, and became famous by his works. His execution was won-
derfully smooth, his forms were beautifully elegant, but his grouping
is artificial and unpleasant, his whole tone cold and heavy, with a
lack of feeling running through all. But his works were much ad-
mired, and he could not find time to execute the orders he received.
His figures are mostly small. Munich is rich in his works, and they
are seen in several large galleries.
Werff, Pieter van der, born at Rotterdam (1665-1718). Brother,
pupil, and assistant of Adrian. He so often copied the pictures of
Adrian, and so adopted his style, that it is sometimes difficult to dis-
tinguish between their works. But Pieter was, in truth, much the
weaker of the two. Three of his works are in the Amsterdam Mus.
West, Benjamin, born at Springfield, Pennsylvania (1738-1820).
The story of his early love for painting, of the gift of a paint box
which he received, of his truancy and first picture in his mother’s
garret, etc., is too well known to be repeated. At eighteen he was
established as a portrait painter in Philadelphia. By the kindness of
appreciative friends in that city and in New York he was enabled to
go to Italy, and at length went to England in 1763. From this time
he advanced steadily and received many honors, being made a mem-
ber of the Academies of Florence, Parma, and Bologna, and finally
President of the Royal Acad, of England. He received, instructed,
and befriended the young American artists who went to England, and
led a life of honorable comfort. He was not intense in his nature,
and his experience brought no trials to develop and strengthen his
spirituality. His life was one of regular, orderly industry and success.
His pictures are a legitimate result of such an experience, and while
there is much to admire, while we may be very proud of him as an
early American artist, there is nothing in his creations to stir our
souls while we regard them, or to make a living recollection when we
WEENIX — WEST.
Weenix, Jan Baptist, born at Amsterdam (1623-1660). This
remarkable animal painter was solid in his execution, brilliant in
lighting, and clear in chiaro-scuro; occasionally he was gaudy, but
all in all he was the most eminent of the group of Dutch painters to
which he belonged. Some of his best works are seen in the Munich
cabinets. A Seacoast with a repulse of Turkish pirates, in the Louvre,
is noticeable for its lighting.
Weenix, Jan, born at Amsterdam (1644-1719). Son and pupil
of the preceding. His works mostly represent dead animals, life-
size. He especially excelled in dead hares, and these are the pictures
on which his fame rests; they are frequently painted with birds and
other game, and rarely a living dog is/ introduced. His masterly
works are at the Louvre, Munich, Hague, Amsterdam, and Berlin
galleries.
Werff, Adrian van der, born near Rotterdam (1659-1722). This
artist pursued the ideal in the midst of the realistic school of his
country, and became famous by his works. His execution was won-
derfully smooth, his forms were beautifully elegant, but his grouping
is artificial and unpleasant, his whole tone cold and heavy, with a
lack of feeling running through all. But his works were much ad-
mired, and he could not find time to execute the orders he received.
His figures are mostly small. Munich is rich in his works, and they
are seen in several large galleries.
Werff, Pieter van der, born at Rotterdam (1665-1718). Brother,
pupil, and assistant of Adrian. He so often copied the pictures of
Adrian, and so adopted his style, that it is sometimes difficult to dis-
tinguish between their works. But Pieter was, in truth, much the
weaker of the two. Three of his works are in the Amsterdam Mus.
West, Benjamin, born at Springfield, Pennsylvania (1738-1820).
The story of his early love for painting, of the gift of a paint box
which he received, of his truancy and first picture in his mother’s
garret, etc., is too well known to be repeated. At eighteen he was
established as a portrait painter in Philadelphia. By the kindness of
appreciative friends in that city and in New York he was enabled to
go to Italy, and at length went to England in 1763. From this time
he advanced steadily and received many honors, being made a mem-
ber of the Academies of Florence, Parma, and Bologna, and finally
President of the Royal Acad, of England. He received, instructed,
and befriended the young American artists who went to England, and
led a life of honorable comfort. He was not intense in his nature,
and his experience brought no trials to develop and strengthen his
spirituality. His life was one of regular, orderly industry and success.
His pictures are a legitimate result of such an experience, and while
there is much to admire, while we may be very proud of him as an
early American artist, there is nothing in his creations to stir our
souls while we regard them, or to make a living recollection when we