Adam van Noort
![](http://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Adam-van-Noort.jpg/230px-Adam-van-Noort.jpg)
Adam van Noort (1561/62 – 1641) was a Flemish painter and draughtsman and one of the teachers of Peter Paul Rubens, and the only teacher of Jacob Jordaens. Adam van Noort was mainly known for his history paintings but he also created some portraits.[1] He was a designer for engravings for the Collaert family of printmakers and publishers.[2]
Life
Adam van Noort was born and died in Antwerp. He was the son of Lambert van Noort from Amersfoort and Katelijne van Broeckhuysen from Zwolle. His parents had established themselves in Antwerp where Lambert became a member of the local Guild of Saint Luke in 1549. His father was active primarily as a designer of stained-glass windows and engravings, an architect and, to a lesser extent, a painter. The family lived in poverty.[3]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Adam_van_Noort_-_Let_the_children_come_to_me.jpg/290px-Adam_van_Noort_-_Let_the_children_come_to_me.jpg)
Adam van Noort probably initially trained with his father but must have had other teachers since his father died when he was still young.[1] He was not registered with any other teacher in the records of the Guild of Saint Luke. He became a master of the Guild of Saint Luke in 1587. He married Elisabeth Nuyts, with whom he had five children.
Van Noort served as dean of the Guild of Saint Luke from 1597 until 1602.[4] He had problems with the Guild, which accused him of poor management of the accounts and misappropriation of materials of the Guild.[1] The first conflict arose when van Noort used some unpainted panels in the Painter's Chamber of the Guild to create a composition he wanted to give as a present to the Guild in remembrance of his service as a deacon. Some other guild members objected to his actions and he was forced to substitute the panels and to ensure that they were painted within a year with a design approved by the Guild. The commission to paint the substituted panels did finally not go to van Noort but to Maerten de Vos. A second conflict with the Guild arose from the fact that he did not settle his accounts in time after he ceased being a deacon of the Guild.[3]
Adam's present-day fame largely rests on the fact that he was the teacher of two of the leading Flemish Baroque painters Peter Paul Rubens and Jacob Jordaens. Rubens only stayed for a little over a year and is not believed to have been influenced much by van Noort's training. Jordaens married van Noort's daughter Elisabeth and would influence the style of his teacher and father-in-law.[1] The total number of pupils of van Noort was around 35. This attests to the fact that in his time he was a very respected artist. He was also financially successful and was able to acquire several properties in Antwerp.[3]
The other pupils of Adam van Noort include Hendrick van Balen, Ferdinand van Apshoven the Elder, Artus de Bruyn, Hendrik van der Eedt, Remoldus Eynhoudt and Hendrick van Herp.[4]
Van Noort lived to an old age but likely ceased practising as an artist around 1630.[1] He made his last will on 31 August 1640 and died not long after September that year.[3]
Work
Van Noort painted mainly paintings of religious subjects and portraits.[4] He collaborated with Marten de Vos and Ambrosius Francken on the decorations for the Joyous Entry of Archduke Ernest of Austria in 1594. Originally working in the Mannerist style of the aforementioned two artists, he developed his own style which was a transformation of Frans Floris’ Romanism executed on a smaller scale (such as in The preaching of John the Baptist, 1601).[1] The Last Supper, a collaboration with Willem Key, is another good example of his style with its strong movement within a diagonal composition.[5]
Later, with the arrival in his workshop and under the influence of Jacob Jordaens, he adopted some of the dynamism and monumentality of the Baroque into his work. This influence is evident in his Let the children come to me (c. 1609–10,Royal Museums of Fine Arts of Belgium).[1]
References
- ^ a b c d e f g Carl Van de Velde. "Noort, van." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 March 2017
- ^ Adam Van Noort (1562-1641) at the Fitzwilliam Museum
- ^ a b c d Adam van Noort in: Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen, 1883, p. 391-401 (in Dutch)
- ^ a b c Adam van Noort at the Netherlands Institute for Art History (in Dutch)
- ^ The Last Supper by Adam van Noort and Willem Key Archived 3 August 2020 at the Wayback Machine at Vlaamse kunstcollectie (in Dutch)
External links
Media related to Adam van Noort at Wikimedia Commons
- v
- t
- e
and drawings
- The Descent from the Cross (Siegen; 1600–1602)
- Leda and the Swan (1601, 1602)
- The Deposition (1602)
- Self-Portrait in a Circle of Friends from Mantua (1602–1605)
- Equestrian Portrait of the Duke of Lerma (1603)
- Portrait of a Young Woman (1603)
- Hercules and Omphale (1603)
- Heraclitus and Democritus (1603)
- Virgin and Child (c. 1604)
- The Fall of Phaeton (c. 1604/1605)
- The Baptism of Christ (1604–1605)
- The Gonzaga Family in Adoration of the Holy Trinity (1604–1605)
- Transfiguration (1604–1605)
- The Circumcision (1605)
- Portrait of Marchesa Brigida Spinola-Doria (1606)
- Portrait of Maria di Antonio Serra (1606)
- Portrait of a Noblewoman with an Attendant (1606)
- Portrait of Giovanni Carlo Doria on Horseback (1606)
- Madonna della Vallicella (1606–1608)
- Susanna and the Elders (1607)
- The Head of Saint John the Baptist Presented to Salome (c. 1609)
- Adoration of the Magi (Madrid; 1609 and 1628–29)
- Samson and Delilah (1609–1610)
- Honeysuckle Bower (1609–1610)
- Coronation of the Virgin (1609–1611)
- Juno and Argus (1610)
- Raising of the Cross (1610–1611)
- Conversion of Saint Paul (London; 1610–1612)
- Massacre of the Innocents (c. 1611)
- Venus Frigida (1611)
- Prometheus Bound (1611–1612)
- The Four Philosophers (1611–1612)
- Antwerp Resurrection (1611–1612)
- Visitation (c. 1611–1615)
- Roman Charity (1612)
- Ecce Homo (1612)
- Descent from the Cross (Antwerp; 1612–1614)
- Saint Teresa of Ávila's Vision of the Holy Spirit (Rotterdam; 1612–1614)
- Saint Teresa of Ávila's Vision of the Holy Spirit (Cambridge; c. 1614)
- The Tribute Money (1612–1614)
- The Defeat of Sennacherib (1612–1614)
- The Four Continents (1610s)
- Christ Giving the Keys to Saint Peter (1612–1614)
- Portrait of a Commander (1613)
- The Crowning of the Virtuous Hero (1613–1614)
- The Incredulity of Saint Thomas (1613–1615)
- The Death of Adonis (1614)
- Venus and Adonis (1614)
- St Sebastian (c. 1614)
- The Virgin Mary and Saint Francis Saving the World from Christ's Anger (c. 1614)
- Madonna della Cesta (1615)
- Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce (1615)
- Daniel in the Lions' Den (1615)
- Bacchanalia (c. 1615)
- A Statue of Ceres (c. 1615)
- The Hippopotamus and Crocodile Hunt (1615–1616)
- The Tiger Hunt (1615–1616)
- Theodosius and Saint Ambrose (1615–1616)
- The Wild Boar Hunt (1615–1617)
- Florence Resurrection (1616)
- The Virgin and Child Surrounded by the Holy Innocents (1616)
- Erichthonius Discovered by the Daughters of Cecrops (c. 1616)
- The Wolf and Fox Hunt (c. 1616)
- The Lion and Leopard Hunt (c. 1616)
- Romulus and Remus (1615–1616)
- Miracles of St. Francis Xavier (1616–1617)
- Saint Stephen Triptych (1616–1617)
- Two Women with a Candle (1616–1617)
- Descent from the Cross (Lille; 1616–1617)
- The Meeting Between Abraham and Melchizedek (1616–1617)
- Christ and the Penitent Sinners (1617)
- Mars and Rhea Silvia (1617)
- The Garden of Eden with the Fall of Man (1617)
- The Great Last Judgement (1617)
- A Bearded Man (c. 1617–18)
- Adoration of the Magi (Lyon; 1617–1618)
- The Five Senses (1617–1618)
- Two Satyrs (1618)
- Medusa (1618)
- The Rape of the Daughters of Leucippus (c. 1618)
- Christ Triumphant over Sin and Death (c. 1618)
- The Prodigal Son (1618)
- The Union of Earth and Water (c. 1618)
- Tigress with Her Cubs (attributed; 1618)
- Mucius Scaevola before Lars Porsenna (c. 1618–1620)
- Feast in the House of Simon the Pharisee (1618–1620)
- The Wild Boar Hunt (1618–1620)
- St Mary Magdalene in Ecstasy (1619–1620)
- The Small Last Judgement (1619)
- Conversion of Saint Paul (1620s)
- The Fall of the Damned (c. 1620)
- Landscape with Philemon and Baucis (c. 1620)
- Portrait of a Young Man in Armor (c. 1620)
- Saint George and the Dragon (c. 1620)
- Perseus Freeing Andromeda (1620)
- Saints Dominic and Francis Saving the World from Christ's Anger (1620)
- The Rape of Orithyia by Boreas (1620)
- Christ on the Cross (1620)
- The Three Graces (Florence; 1620–1623)
- Isabella Brant (c. 1621)
- The Lion Hunt (1621)
- Marie de' Medici cycle (1621–1630)
- Portrait of Susanna Lunden (1622)
- Perseus and Andromeda (c. 1622)
- The History of Constantine (1622–1625)
- Self-Portrait (1623)
- The Conversion of Saint Bavo (1623–1624)
- Diana and Her Nymphs Leaving for the Hunt (1623–1624)
- Adoration of the Magi (Antwerp; 1624)
- The Reconciliation of Esau and Jacob (1624)
- Christ Appointing Saint Roch as Patron Saint of Plague Victims (1623–1626)
- Portrait of Infante Isabella Clara Eugenia (1625)
- Portrait of George Villiers, 1st Duke of Buckingham (c. 1625)
- Assumption of the Virgin (Antwerp; 1625–1626)
- Angelica and the Hermit (c. 1626–1628)
- Henry IV at the Battle of Ivry (1627)
- The Triumphal Entry of Henry IV into Paris (1627)
- The Annunciation (1627–1628)
- The Fall of Man (1628–1629)
- The Rape of Europa (1628–1629)
- Minerva Protecting Peace from Mars (1629–1630)
- Cimon and Pero (1630)
- Saint Francis Receiving the Stigmata (c. 1630)
- The Crowning of Saint Catherine (1631)
- The Ildefonso Altarpiece (1630–1631)
- Last Supper (1630–1631)
- Odysseus on the Island of the Phaecians (1630–1635)
- The Finding of Erichthonius (1632–1634)
- The Rainbow Landscape (Saint Petersburg; 1632–1635)
- The Garden of Love (c. 1633)
- Adoration of the Magi (Cambridge; 1634)
- Bathsheba at the Fountain (c. 1635)
- The Dance of the Villagers (1635)
- Helena Fourment with Her Son Frans (1635)
- Venus and Adonis (New York; 1635)
- The Triumph of the Church (1635)
- The Feast of Venus (1635–1636)
- Deucalion and Pyrrha (1636–1637)
- The Feast of Herod (1635–1638)
- The Village Fête (1635–1638)
- Mercury and Argus (1635–1638)
- Hercules's Dog Discovers Purple Dye (c. 1636)
- Helena Fourment with Children (1636)
- A View of Het Steen in the Early Morning (1636)
- Saturn (1636)
- The Rainbow Landscape (London; 1636)
- Pallas and Arachne (1636–1637)
- Het Pelsken (1636–1638)
- Assumption of the Virgin (Vienna; c. 1637)
- The Birth of the Milky Way (c. 1637)
- Consequences of War (c. 1638)
- Hercules in the Garden of the Hesperides / Deianira Listens to Fame (1638)
- The Three Graces (Madrid; 1636–1638)
- The Rape of Ganymede (1636–1638)
- Diana and Callisto (1637–1638)
- Helena Fourment with a Carriage (1638)
- Self-Portrait (Vienna; 1638–1639)
- Bacchus (1638–1640)
- The Rape of the Sabine Women (1639–1640)
- The Peasants Returning From The Fields (1640)
- The Rainbow Landscape (Munich; 1640)
- Judgment of Paris (various)
- The History of Constantine (1622–1640) (with Pietro da Cortona)
- Palazzi di Genova (1622)
- Rubens family
- Isabella Brant (first wife)
- Helena Fourment (second wife)
- Nicolaas Rubens, Lord of Rameyen (son)
- Albert Rubens (son)
- Jan Rubens (father)
- Maria Pypelinckx (mother)
- Philip Rubens (brother)
- Tobias Verhaecht (teacher)
- Adam van Noort (teacher)
- Otto van Veen (teacher)
- Nicolaas Rockox (friend)
- Poussinists and Rubenists
- Rubens (1977 film)
- Rubenesque
- Rubens' Europe (exhibition)