| Delft School|
Agatha van Pruyssen
| Carel Fabritius|
| Carel Pietersz. Fabritius|
baptised 27 February 1622Middenbeemster, Dutch Republic
October 12, 1654, Delft, Netherlands
The Goldfinch, A View of Delft, Young Man in a Fur Cap, Portrait of a Seated Woman w, Slaughtered Ox
Johannes Vermeer, Rembrandt, Barent Fabritius, Pieter de Hooch, Gabriel Metsu
Pieter Carelsz. Fabritius
Carel Fabritius Wikipedia
Carel Pietersz. Fabritius ( [ˈkaːrəl ˈpitərs faːˈbritsijɵs]; bapt. 27 February 1622 – 12 October 1654) was a Dutch painter. He was a pupil of Rembrandt and worked in his studio in Amsterdam. Fabritius, who was a member of the Delft School, developed his own artistic style and experimented with perspective and lighting. Among his works are A View of Delft (1652), The Goldfinch (1654), and The Sentry (1654).
Carel Pietersz. Fabritius was born in February 1622 in Middenbeemster, a village in the ten-year-old Beemster polder in the Dutch Republic, and was baptized on 27 February of that year. He was the son of Pieter Carelsz., a painter and schoolteacher, and he had two younger brothers Barent and Johannes, who also became painters.
Initially he worked as a carpenter (Latin: fabritius). In the early 1640s he studied at Rembrandt's studio in Amsterdam, along with his brother Barent. In the early 1650s he moved to Delft, and joined the Delft painters' guild in 1652.
Fabritius died young, caught in the explosion of the Delft gunpowder magazine on October 12, 1654, which destroyed a quarter of the city, along with his studio and many of his paintings. Only about a dozen paintings have survived. According to Houbraken, his student Mattias Spoors and the church deacon Simon Decker died with him, since they were working on a painting together at the time.
In a poem written by Arnold Bon to his memory, he is called Karel Faber.
Of all Rembrandt's pupils, Fabritius was the only one to develop his own artistic style. A typical Rembrandt portrait would have a plain dark background with the subject defined by spotlighting. In contrast, Fabritius' portraits feature delicately lit subjects against light-coloured, textured backgrounds. Moving away from the Renaissance focus on iconography, Fabritius became interested in the technical aspects of painting. He used cool colour harmonies to create shape in a luminous style of painting.
Fabritius was also interested in complex spatial effects, as can be seen in the exaggerated perspective of A View of Delft, with a Musical Instrument Seller's Stall (1652). He also showed excellent control of a heavily loaded brush, as in The Goldfinch (1654). All these qualities appear in the work of Delft's most famous painters, Vermeer and de Hooch; it is likely that Fabritius was a strong influence on them.ca. 1640 The Beheading of John the Baptist, oil on canvas, 149 x 121 cm, Rijksmuseum Amsterdam
1643 The Raising of Lazarus, oil on canvas, National Museum, Warsaw
1643/45 Hagar and the Angel, oil on canvas, 157.5 x 136 cm, Residenzgalerie Salzburg
c. 1644 Portrait of a Seated Woman with a Handkerchief, Art Gallery of Ontario, Toronto
c. 1645 Self-portrait, oil on panel, 65 x 49 cm, Museum Boijmans Van Beuningen, Rotterdam
1645–47 Mercury and Aglauros oil on canvas, 72.4 x 91.1 cm, Museum of Fine Arts Boston
1646 Portrait of an old man, oil on board, Louvre
1646–1651 A Girl with a Broom, oil on canvas, 107.3 x 91.4 cm, signed as Rembrandt, National Gallery of Art, Washington D.C
1649 Portrait of Abraham de Potter, oil on canvas, 68.5 x 57 cm, Rijksmuseum, Amsterdam
1652 A View of Delft, with a Musical Instrument Seller's Stall, oil on canvas on panel, 15.4 x 31.6 cm, National Gallery London
1654 The Goldfinch, oil on panel, Mauritshuis The Hague
1654 The Sentry, oil on canvas, 68 x 58 cm, Staatliches Museum Schwerin Schwerin
1654 Young Man in a Fur Cap, oil on canvas, 70.5 x 61.5 cm, National Gallery London (probably a self-portrait)