Biography
Wilhelm Von Gegerfeldt
Wilhelm von Gegerfelt (1844–1920) was a Swedish landscape and marine painter born in Gothenburg. Trained in Copenhagen, Stockholm, Düsseldorf and Paris, he helped introduce modern plein-air ideas into Swedish art. His Venice views, French coasts, Swedish summer evenings and harbour scenes use loose brushwork, luminous atmosphere and sensitive observation of water, sky and northern light.
Westerbaen I., Jan Jansz.
Jan Jansz. Westerbaen the Elder (c.1600–1686) was a Dutch Golden Age portrait painter active in The Hague. Apprenticed in 1619 to Evert Cuirijnsz. van der Maes, he joined the Guild of Saint Luke in 1624 and later participated in The Hague’s professional artistic life, including the founding of Confrérie Pictura in 1656. Westerbaen specialised in sober, finely observed portraits of ministers, magistrates, prosperous citizens and family members, often presenting sitters with restrained dignity, dark clothing and carefully described faces. His portraits rely less on theatrical display than on clarity of likeness, social presence and polished execution. Through costume, gesture and controlled light, he recorded the self-image of Dutch civic society in the mid-seventeenth century. Although less famous than The Hague’s grand portraitists, his surviving works remain valuable documents of status, piety and personal identity during the Dutch Republic’s Golden Age.
Westerbaen I., Jan Jansz.
Jan Jansz. Westerbaen the Elder (c.1600–1686) was a Dutch Golden Age portrait painter active in The Hague. Apprenticed in 1619 to Evert Cuirijnsz. van der Maes, he joined the Guild of Saint Luke in 1624 and later participated in The Hague’s professional artistic life, including the founding of Confrérie Pictura in 1656. Westerbaen specialised in sober, finely observed portraits of ministers, magistrates, prosperous citizens and family members, often presenting sitters with restrained dignity, dark clothing and carefully described faces. His portraits rely less on theatrical display than on clarity of likeness, social presence and polished execution. Through costume, gesture and controlled light, he recorded the self-image of Dutch civic society in the mid-seventeenth century. Although less famous than The Hague’s grand portraitists, his surviving works remain valuable documents of status, piety and personal identity during the Dutch Republic’s Golden Age.