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Jan Brueghel the Elder (1568-1625)
Jan was born in Brussels. His father died in 1569, and then, following the death of his mother in 1578, Jan, along with his brother Pieter Brueghel the Younger and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons.
The family moved to Antwerp sometime after 1578. In about 1589 Jan traveled to Italy, probably via Cologne. There he resided first in Naples, where his patron was Francesco Carracciolo. Next he moved to Rome, working for several discerning cardinals including, most famously, Federico Borromeo. It was in the company of Borromeo that Brueghel left Rome and took up residence in Milan, where he was part of the Cardinal's household. In the summer of 1596 he returned to Antwerp, where he remained for the rest of his life apart from short journeys to Prague and to the Dutch Republic. The Battle of Issus (ca. 1599-1600) in the Louvre. While in Italy he applied himself principally to landscapes and history paintings, including Biblical narratives and scenes from mythology and ancient history.
Back in Antwerp he continued these types of subject matter but also acquired considerable reputation by his flower paintings and allegories. He formed a style more independent of his father's than did his brother Pieter the Younger. Many of his paintings are collaborations in which figures by other painters were placed in landscapes painted by Jan Brueghel; in other cases, Brueghel painted the figures into another artist's landscape or architectural interior. The most famous of his collaborators was Peter Paul Rubens in several of his small pictures—such as his "Vertumnus and Pomona," the "Satyr viewing the Sleeping Nymph," and the "Terrestrial Paradise.". He had a studio in Antwerp, where he died from cholera on 13 January 1625.
Our standard prints are reproduced on a premium semi matt finish paper. Its micro-porous resin coating provides exceptional colour accuracy and stability
Our watercolour board has a natural white finish with a slightly structured, soft-textured surface equivalent to a traditional etching fine art paper. The surface has a special matte coating, designed for high quality fine art reproduction with giclée technology. It is an archival quality paper with great colour accuracy.
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All prints will be tissue wrapped, bubble wrapped and packed into robust cardboard tubes.
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