Pieter coecke van aelst biography for kids videos

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There are many rewarding aspects to curating an exhibition, but one perhaps less universally acknowledged—on the public platform at least—is the advantage of getting to know one's colleagues better by working so closely alongside them. In the case of Grand Design , I benefited immensely from time spent comparing ideas and testing theories with my co-curators, Maryan Ainsworth, who assembled Coecke's paintings included in the exhibition; Nadine Orenstein, who tackled his printed projects; and Stijn Alsteens, who worked on his drawings.

Likewise, it was fascinating watching our designer, Dan Kershaw, finesse the incredibly daring and successful floor plan from which our exhibition derives its distinctive character. There are countless other Met colleagues with whom I worked on this exhibition as well. But perhaps the person whom I have come to know best is Pieter Coecke van Aelst — himself.

Left: Jan Johannes Wierix Netherlandish, — Portrait of Pieter Coecke van Aelst. Published by Theodoor Galle Netherlandish, — Though Coecke's artistry came as no surprise, the five years I spent gleaning and reuniting his far-flung contemporary biographical records brought this individual to life. My awareness of his artistic oeuvre was complemented by a growing comprehension of his career path, which blazed a spectacular, if short-lived, trail through Flanders during the second quarter of the sixteenth century.

Detailed in the timeline in the exhibition's catalogue , we can shadow the young Coecke as he left Aalst, the small town in which he'd grown up, and journeyed to Antwerp, the affluent port city and great center of panel painting. Interspersed between the better-known, auxiliary facts, such as the date Coecke registered in the city's painters' guild, we witness the ambitious young artist marrying Anna—hopefully a love match but certainly a canny move, given that her father, Jan Mertens van Dornicke, was one of the most successful painters working in the city.

A multi-talented 16th century Flemish artist working as a painter, architect, designer of cartoons for tapestries and stained-glass windows, translator, as well as editor and engraver, Pieter .

Hot on the heels of the birth of their two sons, Pieter and Michiel, tragedy struck as Anna died just as Coecke began to enjoy professional success with the painting of the incredibly well-received and subsequently immensely influential Last Supper. In his thirties, Coecke continued to flourish professionally, receiving important commissions for stained-glass window designs, perfecting his reputation as a tapestry designer with his popular Seven Deadly Sins , Joshua , and Julius Caesar series, continuing to rise in Antwerp professional society as dean in the guild, and even finding time to travel across Europe to Constantinople.

But again, as is less well known during this period, we see Coecke the widower setting up house with Anthonette van der Sandt, whom he never married but with whom he had a daughter, Antonette, and at least one son, Pauwels. The s also saw Coecke witnessing the death of his acquaintance and apparent friend, the important painter Joos van Cleve.