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Gerard ter Borch (II)

Monogrammeert als
GTB
GTB intertwined
Nationaliteit/school
Noord-Nederlands
Geboren
Zwolle 1617-12
Saur 1996
Overleden
Deventer 1681-12-08
According to his whishes, his body was returned to Zwolle (Wheelock et al. 2004, p. 16).
Familierelaties
in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld.
son of Gerard ter Borch I
Deze persoon/entiteit in andere databases
Biografische gegevens
Werkzaam in
Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld.
  • Zwolle 1625 - 1632
    received initial instruction from his father Gerard ter Borch (I)
  • Amsterdam 1632 - 1633
    short stay in Amsterdam; possibly apprenticed there to Pieter Code or Willem Duyster (Wheelock et al. 2004)
  • Zwolle 1633 - 1634
  • Haarlem 1634 - 1635
    1634 apprenticed to Pieter de Molijn; 1635 became member of the Guild of Saint Luke (Kettering/Van Suchtelen 1998)
  • Londen (Engeland) 1635-06-03 - 1635-09
    according to a letter from Gerard ter Borch I on June 3rd, 1635 in London; worked there briefly in the studio of his step uncle, the engraver Robert van Voerst (1597-1636) who worked closely with Anthony van Dyck (1599-1641) (Wheelock e.a. 2004)
  • Antwerpen 1635-09
    c. September 1635; probably visited Antwerp in the fall of 1635 on the way home from London (Wheelock e.a. 2004)
  • Zwolle 1635-09 - 1637
    Before the end of 1635 he was probably back in Zwolle where he produced his first dated work; in 1637 he probably departed to Spain.
  • Madrid (Spanje) 1637 - 1640
    According to Houbraken 1753 he went to Spain; probably visited Madrid, where he made a portrait of the King Philip IV. Houbraken proposes the late 40s as the dating for this trip, but the theory by Gudlaugsson 1959-1960 that it must have happened between 1637 and 1640 seems more plausible (p. 35-39). A previous stay in Italy is unlikely (Wheelock et al. 2004); the facts described by Houbraken are not proven documentally, but the paintings Procession of the Flagellants and Four Franciscan Monks point out to a stay in Madrid; a painting preserved in the Alcázar of Seville could be attributed to Ter Borch and this trip according to Guerrero Lovillo 1954; poet Joost Roldanus wrote a poem in 1654 on the occasion of Ter Borch's marriage where he explains that Ter Borch painted a portrait of Philip IV, but only an autograph replica is preserved (Gudlaugsson 1959-1960, p. 23-24); the possible influence by Velázquez on Ter Borch was first pointed out by Hellens 1911.
  • Frankrijk
    on his way back from Spain; according to Gerson this is not certain (Gerson 1942/1983, p. 53)
  • Amsterdam 1640 - 1646
    from the beginning of the 1640s; probably in Amsterdam (Kettering/Van Suchtelen 1998)
  • Münster (Duitsland) 1646 - 1648
    successively employed by the Dutch and Spanish (from 1647) delegations; lived here at the Neubrückenstrasse (Moes 1886, p. 154); painted the portrait of, among others, the Spanish emissary Count of Peñaranda (Wheelock et al. 2004, p. 9)
  • Brussel
    probably in Brussels with Count of Peñaranda, where he might have received a gold chain and a medal for his services to the Spanish delegation (Wheelock et al. 2004, p. 10)
  • Amsterdam 1648
    back in the Netherlands by late 1648
  • Zwolle 1648 - 1654
    primarly in Amsterdam and Zwolle when he was back in the Netherlands (Wheelock et al. 2004, p. 10)
  • Deventer 1654 - 1681
    moved to Deventer in the year of his marriage to Geertruyt Matthys (Wheelock et al. 2004)
  • Amsterdam 1672 - 1674
    After the death of his wife, he lived in Amsterdam while Deventer was under French invasion (Wheelock et al. 2004, p. 16).
  • Deventer 1674
    Wheelock et al. 2004, p. 16
  • Den Haag 1675
    in The Hague to complete the second portrait of Willem of Orange (Wheelock et al. 2004, p. 16)
geboren
werkzaam in
overleden
Onderwerpen
In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur.
genrevoorstelling, historie (als genre), portret, landschap (als genre), winterlandschap, architectuur (genre), interieurs
Materiaal/techniek
olieverf
Ingevoerd op: 1991-11-21; Gewijzigd op: 2018-10-11

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