Brekelenkam biography for kids

There was a period in the 17th century, where Dutchtrade, science and art were among the most advanced in Europe. The period is known as the Dutch Golden Age. In general, this period started in the second half of the Eighty Years' War. After the war, there was the Dutch Republic which was the most propsperous nation in Europe. The historical period of the time was called Baroque. Many of the paintings of this period show the scenes more pretty than they really were. This is called 'idealisation'. The Dutch paintings of the time often lack this feature. Artists of the movement include Peter Paul Rubens, Johannes Vermeer, Bartholomeus van der Helst, and Jacob van Loo.

There were relatively few paintings with religious themes during this period. The reason for this was that most Dutch were Calvinist. Calvinism forbade religious painting in churches. Even though such subjects were acceptable in private homes, they were not very popular. The other traditional classes of history and portrait painting were present, but the period is more notable for a huge variety of other genres, sub-divided into numerous specialized categories, such as scenes of peasant life, landscapes, townscapes, landscapes with animals, maritime paintings, flower paint

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Quiringh Gerritsz van Brekelenkam was born in 1622. His parents were Gerrit Adriaens de Plutter and Magdalena Crijnen, both of whom were probably Catholic. His place of birth may have been Zwammerdam, a village near Alphen aan de Rijn, where his father worked as a tailor.¹ The painter thus grew up in an environment that most likely inspired him to paint the kinds of scenes on which he had a veritable patent and on which his present fame rests: the shops of tailors and cobblers, around twenty-five variants of which he produced from 1653 to 1664.² Brekelenkam may have received his artistic education in Leiden. According to an anonymous eighteenth-century biographer, he was “een discipel van Dou” (a pupil of [Gerrit] Dou), however since the similarity with the latter’s work is only superficial, an apprenticeship with Dou (1613–75) is now seriously doubted.³ Nonetheless, a previously overlooked signature on a document does point to a close connection with that Leiden master. When Dou accompanied his parents to draw up their will before a notary on 16 February 1646, they were joined by Van Brekelenkam, who signed the document: “Quiringh Gerritsz van Breeckelenkam, schilder” (Quiringh Gerritsz van Brekelenkam, painter).⁴

Van Brekelenkam e

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