Lucas de heere biography

Lucas de Heere (Gante, – París, ) fue un pintor, poeta y escritor flamenco, discípulo de Frans Floris.

De religión protestante, llevó una vida errante, refugiándose y trabajando un tiempo en Fontainebleau y en Inglaterra durante las revueltas en los Países Bajos contra Felipe II, regresando a los Países Bajos tras la Pacificación de Gante en Fue muy popular en su época, por lo que amasó una considerable fortuna. Llegó a ser conocido especialmente por sus retratos, de los que el más célebre es el retrato de Catalina de Berain, que se conserva en el Museo Nacional de Cardiff, en los que se muestra como un discreto seguidor de Antonio Moro y de Tiziano.

Formación

Heere provenía de una familia noble de pintores y escultores. Su madre Anna Smijters era iluminadora y su padre Jan de Heere, escultor y arquitecto; ambos habrían sobresalido en su oficio. Aprendió a dibujar de su padre. Habiendo terminado la Concessio Carolina al poder de los Gremios de Gante en y, en consecuencia, estando estancada la actividad artística en esta ciudad, Heere fue enviado a Amberes por su padre para completar su formación como pintor en el estudio de Frans Floris. Por encargo de este último realizó varios cartones de vidrieras y tapices, que pasaban por obras del propio maestro. De Floris aprendió a comportarse en un medio elitista, familiarizándose con la nobleza de Amberes.

Según se desprende de una carta del Cardenal Granvela, hizo un retrato de Felipe II en , que podría ser el pequeño retrato a él atribuido, con dudas, en el Museo del Prado.&#; La existencia de unos retratos firmados por HE, cuya datación es controvertida, ha llevado a ciertos autores a creer que Heere ya había estado en Inglaterra antes de su exilio. Así, en , habría pintado a María Tudor en Londres, aunque actualmente se cree que son pinturas de Hans Ewoutsz.

En pintó por orden del embajador Viglius van AyttaLa visita de la reina de Saba al rey Salomón, que fue

In the mids, artist and writer Lucas de Heere moved to London from Ghent in the Low Countries.  In his time in England, he produced works for leading figures at court while working with and teaching aspiring painters.  After having lived here some ten years, de Heere compiled a description of England and a run-down of its chief “wonders,” replete with brilliant sketches of contemporary figures in a manuscript (British Library Add MS ) that quite literally gives us a picture of life in mid-Elizabethan England.  

His images are arresting glimpses into the visual and material culture of the sixteenth century, and accordingly they represent a rich avenue of enquiry for a project such as ours—not least because they depict side-by-side the clothing, details, and practices of Elizabethans from across the social spectrum, from the Mayor and Aldermen of London to barons, MPs, and guardsmen:

In this sketch, de Heere brings together in four figures depictions of urban and provincial life: a wife of a citizen of London, a wife of a wealthy citizen of London, a young daughter, and a country-woman. The sketch therefore represents subtle differences in dress and comportment between degrees or sorts of people—between the wife and the rich wife, the urban citizen and the country dweller.  The country-woman is seemingly returning from the market or shops and is well dressed in frill neck and hat, though her white apron signifies a different way of navigating the social world to the city-dwellers; she holds gloves (a high-status accoutrement) in her left hand and poultry (a domestic workaday chore) in her other, perhaps distancing her from wealthier country households whose servants could take care of the shopping.  Each of these details raises questions about how we define middling status and its variability, about what qualifying words such as “rich” (‘riich’) and “citizen” (‘burgher’) do for this group, and about gender

Flemish painter

Lucas de Heere or Lucas d'Heere (Ghent, &#; possibly Paris, 29 August ) was a Flemishpainter, watercolorist, print artist, biographer, playwright, poet and writer. His costume books and portraits are a valuable resource for knowledge about 16th-century fashion.

Life

The principal source for the life and work of de Heere is Het Schilder-Boeck written by his pupil Karel van Mander first published in in Haarlem in the Dutch Republic, where van Mander resided in the latter part of his life. Lucas de Heere was born in Ghent, the second son of Jan de Heere, a sculptor, and Anna Smijters, a miniaturist. He was trained by his father. His brother Jan was apprenticed as a painter's apprentice to the local artist Gerard Hoorenbault. He also had four sisters.

After the citizens of Ghent revolted against their ruler emperor Charles V, the city's privileges were abolished by the Carolinian Concession in As a result, the power of the guilds was broken and artistic activity came to a standstill. Against this background, Jan de Heere sent his son Lucas to Antwerp to study under the leading Flemish painter and draughtsman of his time, Frans Floris. This was likely also the time when he started composing poetry. Upon his return to Ghent likely around , he established a school of painting. One of his students was Karel van Mander. In , he and his father were commissioned by the Ghent magistrate with the decoration of St John's Church - now St Bavo's Cathedral, Ghent - on the occasion of the reunion of the 23rd Chapter of the Golden Fleece. Lucas completed for this commission the painting King Solomon and the Queen of Sheba in which Solomon is given the features of king Philip II of Spain. Around , he married Eleonore Carboniers.

After the Spanish Netherlands revolted against Philip II of Spain in because of his suppression of the followers of the Reformation movement, De Heere went to Fra

&#;DE HEERE or D'HEERE, LUCAS (–), painter and poet, born at Ghent in , was the son of Jan D'Heere, the leading statuary in Ghent, and Anna de Smytere, a famous illuminator. De Heere was placed at an early age in the studio of his father's friend, Frans Floris. His friend, Marcus van Vaernewyck, the historian, remarks on his precocious skill. De Heere afterwards travelled in France and England. In he and his father were employed in making decorations for the cathedral at Ghent, on the occasion of the chapter of the Golden Fleece held there by Philip II in July The picture of ‘The Queen of Sheba before Solomon,’ now in the chapel of St. Ivo in the cathedral at Ghent, probably formed part of these decorations. De Heere certainly enjoyed the patronage of Philip II, but subsequently he adopted the reformed religion, and became a devoted follower of the Prince of Orange. His chief patron was Adolph of Burgundy, seigneur of Waeken. De Heere seems to have lived in his patron's house, and painted portraits of him, his wife, and their fool. It was perhaps while engaged on these portraits that he met at Middelburg Eleonora, daughter of Pieter Carboniers, burgomaster of Vere, herself a person of literary talent, whose portrait he painted, and whom he eventually married. In Ghent he set up a school of painting, which promised to carry on the italianised traditions of Frans Floris and his pupils. Poetry was as much studied as painting, and De Heere's poems were much esteemed by his fellow-townsmen. He was one of the members of the famous Chamber of Rhetoric, called ‘Jesus with the Balsam Flower,’ and in he published a collection of his poems, entitled ‘De Hof en Boomgaerd der Poesien.’ In that year he also published a translation of the Psalms of David after Clement Marot, and in wrote an introductory poem to the Psalms, published by the famous preacher, Peter Dathenus. In August the iconoclastic outbreak took place, a