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Jan van den Hoecke : ウィキペディア英語版
Jan van den Hoecke

Jan van den Hoecke〔Alternative names: Johannes van den Hoecke, Jan van der Hoecke, Jan Van den Hoecke, Jan van Hoek, Jan van Hoeck, Jan Vanhoek, first name also 'Giovanni' in Italy〕 (4 August 1611 – 1651) was a Flemish painter, draughtsman and designer of wall tapestries. He was one of the principal assistants in Rubens’ studio in the 1630s, later traveled to Italy where he resided for a decade and subsequently worked as a court painter in Vienna and Brussels.
==Life==
He was born in Antwerp in an artistic family. It is believed that, like his brother Robert van den Hoecke (1622–1668), he first apprenticed with his father, the painter Gaspar van den Hoecke (1595–1648). He then worked in the studio of Peter Paul Rubens in the 1630s.〔(Matthias Depoorter, ''Jan van den Hoecke'' ) at Barok in Vlaanderen〕
While he was at Rubens’ studio he was a frequent collaborator on various major projects of Rubens. He is believed to have collaborated with Rubens on the ceiling decorations for the Banqueting Hall.〔 Jahel Sanzsalazar, ''Jan van den Hoecke: quelques précisions et nouvelles propositions pour le catalogue de son oeuvre'', in: Revue Belge d'Archéologie et d'Histoire de l'Art, Académie Royale d'Archéologie de Belgique / Belgish tijdschrift voor Oudheidkunde en Kunstgeschiedenis, Koninklijke Academie voor Oudheidkunde van België, LXXXII, 2013, pp. 45-78 〕 Together with his father, Jan contributed to the decorations for the Joyous Entry of Cardinal-infant Ferdinand in Antwerp on 17 April 1635, the overall artistic design of which was under the direction of Rubens. Jan painted monumental representations for this occasion after designs by Rubens.〔 Of these large-scale works some have been preserved such as the ''Triumphal Entrance of Cardinal Prince Ferdinand of Spain'' (Uffizi Gallery) and ''The Battle of Nördlingen, 1634'' (Royal Collection). It is known that the latter work, which celebrates the Cardinal-Infant’s victory over a Swedish army at the Battle of Nördlingen of 1634 was painted by van den Hoecke after an oil sketch by Rubens. It was placed at a central position in the centre of the front of the Arch of Ferdinand during the Joyous Entry. It remained outside for a few months after the event during which it was exposed to the natural elements. As van der Hoecke was in Italy by this time, Jacob Jordaens carried out some re-touching of the canvas in 1636 before it was offered to Cardinal-Infant Ferdinand in 1637.〔(Jan van der Hoecke (Antwerp 1611 - Antwerp or Brussels 1651), ''The Battle of Nördlingen, 1634 )'' at the Royal Collection〕
Jan van den Hoecke travelled to Italy where he resided likely from 1635 to 1644 although some extend the period of his stay to 1646.〔(''Jan van den Hoecke'' ) at the Netherlands Institute for Art History 〕〔 In Italy he seems to have become familiar with the paintings of Guido Reni and studied the antique. These influences explain the classicizing trends in his later work.〔Günther Heinz. "Hoecke, Jan van den." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 Jul. 2014〕 In 1644, the artist was accepted in Rome as a member of a select club, the Virtuosi al Pantheon.〔
Van den Hoecke moved to Austria and entered the service of Emperor Ferdinand III in 1644. He also painted for Ferdinand’s brother, Archduke Leopold Wilhelm of Austria (1614–1662), including a ''Madonna and Child'' and a number of allegorical pieces. Van den Hoecke returned to his home country with Archduke Leopold Wilhelm when the latter became the governor of the Southern Netherlands in 1647.〔〔(Karl Schütz, ''Zeitgenössische niederländische Malerei in der Sammlung Erzherzog Leopold Wilhelms'' ), in: De zeventiende eeuw. Jaargang 13. Uitgeverij Verloren, Hilversum 1997, p. 371-377 〕 He was at the same time a court painter and the conservator of the art collection of the Archduke, which was reported to be one of the largest in Northern Europe and comprised about 1,400 paintings and other artworks.〔〔
He died in Antwerp or Brussels.〔

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