Discover painter, draftsperson, member of family of artists Pieter Pietersz. (I)

Name variations

This field records and makes accessible name variations, as found in sources. Alternate spellings, nicknames, maiden names - with or without the married name - are included in this category.

: Jonge Lange Pier
Meester van het Berlijnse Familieportret
Master of the Berlin Family Portrait

Qualifications: painter, draftsperson, member of family of artists

Nationality/school: South Netherlandish (school), North Netherlandish (school)

Born: Antwerp (city) 1540/1541
c. 1540-1541

Deceased: Amsterdam (city) 1603
Karel van Mander wrote that he died in 1603 at the age of 62; buried in the Oude Kerk in Amsterdam in 1603 (Van den Brink 1996, p. 13-23).

Family relationships this field records any family relationship to one or more other artist(s).: eldest son of Pieter Aertsen (1508-1575) and Kathalijn Cornelisdr. Beuckelaer (died 1587); married 1555 (in Haarlem or Amsterdam?) to Magdalena Pietersz., daughter of a glass-painter from Amsterdam (died 1614); father of Pieter Pietersz. II (Langepier) (1578-1631), Truytgen Pietersdr. (1580-1647, married to painter Dirck Pietersz. Bontepaert) and Trijntje Pietersdr. (1582-1631, married to painter Evert Quirynsz. van der Maes); grandfather of the artists Pieter Dircksz. (van) Santvoort gen. Bontepaert (1603-1635), Dirck Dircksz. (van) Santvoort gen. Bontepaert (1609-1680) and Abraham Dircksz van Santvoort (1617-1669)

See also In this field, you will find references to names of groups or to the artists that made/make up groups. You may also come across references to other artists if there was/is question of collaboration without a joint name. This is the case, for instance, with artists who rendered parts of works by other artists (such as with P.P Rubens and J. Brueghel I).

This person/entity in other databases

83 hits in RKDimages as artist
2 hits in RKDlibrary as subject
23 hits in RKDexcerpts as artist
35 hits in RKDtechnical as artist

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Biographical information

Active in

Antwerpen (stad) 1540 - 1555
probably home-trained by his father; the whole family left Antwerp c. 1555
Amsterdam (stad) 1555 - 1569
presumably working shortly after 1555 in the studio of his father Pieter Aertsen in Amsterdam (Van den Brink 1996, p. 13-23); living in Kalverstraat 109; Molensteeg; Oudezijdsvoorburgwal 141 (Saur 2017)
Haarlem (stad) 1569 - 1583
presumably active in Haarlem shortly after 1569 until c. 1583 (Van den Brink 1996, p. 13-23); first documented in 1574 (assessment of the damage done to the city's pictures by the siege); master in the Guild 1575 (Ecartico).
Amsterdam (stad) 1583 - 1603
moved back to Amsterdam c. 1585 (Ecartico); in or shortly before 1585 definitively settled in Amsterdam (Van den Brink 1996, p. 13-23)

born in

active in

died in

Connections with other artists

Pupil of This field mentions the names of teachers or masters. What is at issue are the teachers who made a significant contribution to the development of a students, as opposed to every instructor they ever had. See also the 'Education' field.: Aertsen, Pieter
Teacher of This field mentions the names of pupils. What is at issue are the pupils who were significantly influenced by a teacher as opposed to every student someone ever had. See also the 'Education' field.: Cornelisz, Gerrit
Cornelisz. van Haarlem, Cornelis
Gijsels, Frans
Pietersz., Pieter (II)

Ecartico: teacher of F. Gijsels in 1587

Subjects This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.: history (genre), Christian religious scene, genre, portrait, market scene
mainly known for his portraits (Amsterdam) and his works with religious subjects (Haarlem), strongly influenced by his father's style; his market scenes with prominent figures (Pommersfelden, Moscow) cannot be considered as pure still lifes (Van der Willigen/Meijer 2003, p. 161)

Medium/technique: oil paint

Member of

Sint-Lucasgilde (Haarlem)

Literature

Literature in RKDLibrary: 2 hits in RKDlibrary as subject

Van Mander 1604 , f. 244v, 292r
Houbraken 1718-1721 , vol. 1, p. 25
Von Wurzbach 1906-1911 , p. 323-324 (as: Pieter Pietersz III. [...] genannt Jonge Lange Pier)
Thieme/Becker 1907-1950 , vol. 27 (1933), p. 9 (as: Pietersz, Pieter, gen. Jonge Lange Pier)
De Vries 1934 , p. 63-71
Molhuysen/Blok et al. 1911-1937 , vol. 10 (1937), kol. 732-733 (as: Pietersz (Pieter))
Thieme/Becker 1907-1950 , vol. 37 (1950), p. 44 (as: Meester van het Berlijnse Familieportret)
Witt Checklist 1978 , p. 244 (as: Pietersz., Pieter, I (Jonge Lange Pier; identified with Master of the Berlin Family Portrait))
Miedema 1980
Luijten et al. 1993 , p. 313-314 and passim
De Jong/Koster et al. 1996 , p. 13-23 (P. van den Brink, 'De 'Gortenteller' van Pieter Pietersz. Een teruggevonden schilderij')
Van der Stighelen/Westen 1999
Middelkoop et al. 2002
Van der Willigen/Meijer 2003 , p. 161 (as: Pieter Pietersz.)
Biesboer/Köhler et al. 2006 , p. 264-267 (I. van Thiel-Stroman, 'Pieter Pietersz.')
Saur 1992- , vol. 95 (2017), p. 450
Horn/Van Leeuwen 2021 [Houbraken Translated]

N. de Roever, 'Rijfelarijen', Oud-Holland 4 (1886), p. 190-197 [about an illegal lottery by C. Colijn]
N. de Roever, 'Pieter Aertsz: gezegd Lange Pier, vermaard schilder', Oud-Holland 7 (1889), p. 1-38, esp. p. 10-14
G.J.J. Pot, 'Een altaarluik van Pieter Pietersz.', Oud-Holland 46 (1929), p. 130-133
P. Wescher, 'Der Maler Pieter Pietersz. und sein Werk', Oud-Holland 46 (1929), p. 152-166
J. de Coo, 'Pieter Pietersz. Schilder van de memorietafel Bam-Wessels te Kalkar', Jahrbuch der rheinischen Denkmalpflege 27 (1967), p. 252-256
J. de Ridder, 'Gerechtigheidstaferelen in de 15de en de 16de eeuw, geschilderd voor schepenhuizen in Vlaanderen', Gentse Bijdragen tot de Kunstgeschiedenis 25 (1979-1980), p. 42-62, ill. 4
S.A.C. Dudok van Heel, 'Enkele adressen van zestiende eeuwse kunstschilders', Maandblad Amstelodamum 74 (1987), p. 1-7; p. 4-5
P. van den Brink, 'Het Petrus en Paulus altaarstuk van Pieter Pietersz in Gouda. Verslag van een natuurwetenschappelijk onderzoek', Nederlands Kunsthistorisch Jaarboek 40 (1989), p. 235-262
P.B.R. van den Brink, 'IRR Examination on two Paintings attributed to Pieter Pietersz.: the Kalkar and Maastricht Crucifixions', Le dessin sous-jacent dans la peinture. Colloque 11, Louvain-la-Neuve 1997, p. 121-136, ills. 68-73
Z. Kwak, '"Taste the fare and chew it with your eyes": a painting by Pieter Pietersz and the amusing deceit in 16th- and 17th-century Dutch and Flemish kitchen scenes', in: T. van Houdt et al. (eds), On the edge of truth and honesty. Principles and strategies of fraud and deceit in the early modern period, Leiden 2002 2 vols., vol. 2, p. 223-251
Z. Kwak, 'Taste making southerners and northern innovators. Artistic dialogue between painters of kitchen scenes in the Republic', De Zeventiende Eeuw 31 (2015), p. 211-239

Documentation RKD

This field specifies the location of the various RKD documentation materials. Most of the locations refer to our art-historical image documentation. In addition, you will find references to press documentation (clippings and short articles) here.

External links: this artist in Ecartico

Permalink: https://rkd.nl/explore/artists/63453

Creation date: 1992-02-07; Last modified date: 2023-02-09

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Pieter Pietersz. (I)

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