 |
| Jan Lievens Self-portrait ca. 1629-30 oil on panel private collection |
"Jan Lievens was already an apprentice painter at the age of eight: first in his native Leiden and from 1617 to 1619 under Pieter Lastman in Amsterdam. Later, he moved back to Leiden, where he worked together with Rembrandt for over five years. After 1631 Lievens struck out in a different direction; he spent three years in London. His style began to change under the influence of Anthony van Dyck's portraits. And when he saw Rubens's work in Antwerp in 1635, Lievens adopted the Baroque style completely. In 1644 Lievens returned to Amsterdam, where he remained for the rest of his life."
– curator's notes from the Rijksmuseum, Amsterdam
 |
| Jan Lievens The Card Players ca. 1625 oil on canvas Leiden Collection |
 |
| Jan Lievens St Paul ca. 1627-29 oil on canvas Nationalmuseum, Stockholm |
 |
| Jan Lievens Sultan Soliman ca. 1628-30 oil on canvas Sans Souci Palace, Potsdam |
 |
| Jan Lievens Art Student ca. 1630 oil on panel Musée du Louvre |
 |
| Jan Lievens Samson and Delilah ca. 1630-35 oil on canvas Rijksmuseum, Amsterdam |
 |
| Jan Lievens Portrait of a Young Man ca. 1631 oil on canvas National Galleries of Scotland |
 |
| Jan Lievens Magus at a Table ca. 1631-32 oil on panel National Trust, Upton House, Warwickshire |
 |
| Jan Lievens Prince Charles Louis of the Palatinate and his Tutor 1631 oil on canvas Getty Museum, Los Angeles |
"During the mid-1620s Lievens was a close friend of Rembrandt van Rijn, and they collaborated on paintings. Lievens's pictures from this period show his talent for working on a life-size scale and the influence of the Utrecht Caravaggisti in his large, half-length figure compositions. Often these were "historicizing portraits," in which he placed his sitters in a scene from antiquity or the Bible. Lievens spent most of the years between 1632 and 1644 in England and Antwerp, where he was greatly impressed by the shimmering canvases of Anthony van Dyck and Peter Paul Rubens. As a result, his palette lightened and his paintings became smoother and more elegant, appearing almost facile. When Lievens returned to Holland in 1644 he was in great demand, but he had constant money problems. After his death in 1674, his children, fearing they would inherit nothing but debts, appealed to the courts for the right to refuse the inheritance."
– curator's notes from the Getty Museum
 |
| Jan Lievens Raising of Lazarus 1631 oil on canvas Brighton and Hove Museums and Art Galleries |
 |
| Jan Lievens Portrait of a Young Man ca. 1640 oil on panel Norton Simon Museum, Pasadena |
 |
| Jan Lievens Lamentation ca. 1640 oil on canvas Alte Pinakothek, Munich |
 |
| Jan Lievens Landscape with Tobias and the Angel ca. 1640-44 oil on panel National Gallery, London |
 |
| Jan Lievens Allegory of Peace 1652 oil on canvas Rijksmuseum, Amsterdam |
 |
| Jan Lievens Portrait of a Young Man ca. 1660-65 oil on canvas Wawel Castle, Cracow |