}}
}}
”’Jan van Rijn”’ or ”’Jean de Reyn”’ was born at [[Dunkirk]] about the year 1610, and went when he was young to [[Antwerp]], where he became a student of [[Anthony van Dyck|van Dyck]].<ref name=”:0″>{{Bryan (3rd edition)|title=De Reyn, Jan|volume=1}}</ref> Such was his progress under that master, that he was invited to accompany him to England, where he continued to assist him until van Dyck’s death in 1641.<ref name=”:0″ /> He afterwards established himself in his native town, where he painted several admirable pictures for the churches, and was much employed as a [[Portrait painting|portrait painter]].<ref name=”:0″ /> His principal works for the churches at Dunkirk were the ”Death of the four Royal Martyrs” for the [[Church of Saint-Éloi, Dunkirk|Church of Saint-Éloi]]; and the ”Baptism of [[Totila]]”, for the church of the English convent.<ref name=”:0″ />
”’Jan van Rijn”’ or ”’Jean de Reyn”’ was born at [[Dunkirk]] about the year 1610, and went when he was young to [[Antwerp]], where he became a student of [[Anthony van Dyck|van Dyck]].<ref name=”:0″>{{Bryan (3rd edition)|title=De Reyn, Jan|volume=1}}</ref> Such was his progress under that master, that he was invited to accompany him to England, where he continued to assist him until van Dyck’s death in 1641.<ref name=”:0″ /> He afterwards established himself in his native town, where he painted several admirable pictures for the churches, and was much employed as a [[Portrait painting|portrait painter]].<ref name=”:0″ /> His principal works for the churches at Dunkirk were the ”Death of the Royal Martyrs” for the [[Church of Saint-Éloi, Dunkirk|Church of Saint-Éloi]]; and the ”Baptism of [[Totila]]”, for the church of the English convent.<ref name=”:0″ />
There are many of his portraits in private collections, “which are little inferior to those of Van Dyck.”<ref name=”:0″ /> The principal [[altarpiece]] in the {{ill|Église Saint-Martin de Bergues|lt=parochial church of St. Martin|fr}} ({{lang|fr|Église Saint-Martin de Bergues}}), at [[Bergues|Bergues St. Vinox]], near Dunkirk, is by this master: it represents ”[[Herodias]] bringing the [[Beheading of John the Baptist|Head of St. John]] to [[Herod Antipas|Herod]]”.<ref name=”:0″ /> De Reyn died at Dunkirk on May 20, 1678, and was buried in Saint-Éloi.<ref>{{Cite book |last=Bouchet |first=Emile |url=https://books.google.com/books?id=987Q2GfWG_wC&dq=%22Jean+de+Reyn%22&pg=PA167 |title=Histoire populaire de Dunkerque |date=1871 |publisher=J. Liénard |pages=167 |language=fr}}</ref>
There are many of his portraits in private collections, “which are little inferior to those of Van Dyck.”<ref name=”:0″ /> The principal [[altarpiece]] in the {{ill|Église Saint-Martin de Bergues|lt=parochial church of St. Martin|fr}} ({{lang|fr|Église Saint-Martin de Bergues}}), at [[Bergues|Bergues St. Vinox]], near Dunkirk, is by this master: it represents ”[[Herodias]] bringing the [[Beheading of John the Baptist|Head of St. John]] to [[Herod Antipas|Herod]]”.<ref name=”:0″ /> De Reyn died at Dunkirk on May 20, 1678, and was buried in Saint-Éloi.<ref>{{Cite book |last=Bouchet |first=Emile |url=https://books.google.com/books?id=987Q2GfWG_wC&dq=%22Jean+de+Reyn%22&pg=PA167 |title=Histoire populaire de Dunkerque |date=1871 |publisher=J. Liénard |pages=167 |language=fr}}</ref>
A biographical dictionary of Flemish painters characterized his work as “correct drawing; pure and soft colors; weak brushwork; beautiful arrangement; skillful and effective [[chiaroscuro]]. His portraits are worthy of his master.”<ref name=”:1″>{{Cite journal |last=n.a. |date=1880-04-30 |title=[Reyn, J.] DICTIONNAIRE HISTORIQUE DES PEINTRES DE L’ÉCOLE FLAMANDE DEPUIS LES TENPS ANCIENS JUSQU’A NOS JOURS. |trans-title=Historical Dictionary of Painters of the Flemish School from Ancient Times to the Present Day (continued) |url=https://digi.ub.uni-heidelberg.de/diglit/jbal1880 |journal=Journal des beaux-arts et de la littérature: 220000 |language=fr |volume=22 |issue=8 |page=62, col. 3 |doi=10.11588/DIGLIT.18917 |quote=Dessin correct; coloris pur et moelleux; pinceau faible; belle ordonnance; clair-obscur savant et plein d’effet. Ses portraits sont dignes de son maître. |via=Heidelberg University Historic Literature}}</ref><!– Machine translated by Google Translate –> He was described by a Van Dyck biographer in 1878 as “a man of high talents, but too dependent to carve his own destiny.”<ref>{{Cite book |last=Sweetser |first=Moses Foster |url=https://books.google.com/books?id=a1w1AAAAMAAJ&dq=%22Jean+de+Reyn%22&pg=PA90 |title=Van Dyck |date=1878 |publisher=Houghton, Osgood |pages=90–91 |language=en}}</ref> A history of western painting generally asserted “works chiefly pass as the works of Van Dyck; when he went back to Dunkirk for 30 years he painted much for the churches there, and his style and handling we can thus settle,” and grouped him with two other “alien” assistants of Van Dyck, [[David Beck]] and [[Adriaen Hanneman]].<ref>{{Cite book |last=MacFall |first=Haldane |author-link=Haldane MacFall |url=https://catalog.hathitrust.org/Record/103032737 |title=A history of painting |date=1922 |publisher=D. D. Nickerson |volume=VII: The British Genius |location=Boston |pages=62–63 |oclc=2149536 |via=New York Public Library, HathiTrust}}</ref>
A biographical dictionary of Flemish painters characterized his work as “correct drawing; pure and soft colors; weak brushwork; beautiful arrangement; skillful and effective [[chiaroscuro]]. His portraits are worthy of his master.”<ref name=”:1″>{{Cite journal |last=n.a. |date=1880-04-30 |title=[Reyn, J.] DICTIONNAIRE HISTORIQUE DES PEINTRES DE L’ÉCOLE FLAMANDE DEPUIS LES TENPS ANCIENS JUSQU’A NOS JOURS. |trans-title=Historical Dictionary of Painters of the Flemish School from Ancient Times to the Present Day (continued) |url=https://digi.ub.uni-heidelberg.de/diglit/jbal1880 |journal=Journal des beaux-arts et de la littérature: 220000 |language=fr |volume=22 |issue=8 |page=62, col. 3 |doi=10.11588/DIGLIT.18917 |quote=Dessin correct; coloris pur et moelleux; pinceau faible; belle ordonnance; clair-obscur savant et plein d’effet. Ses portraits sont dignes de son maître. |via=Heidelberg University Historic Literature}}</ref><!– Machine translated by Google Translate –> He was described by a Van Dyck biographer in 1878 as “a man of high talents, but too dependent to carve his own destiny.”<ref>{{Cite book |last=Sweetser |first=Moses Foster |url=https://books.google.com/books?id=a1w1AAAAMAAJ&dq=%22Jean+de+Reyn%22&pg=PA90 |title=Van Dyck |date=1878 |publisher=Houghton, Osgood |pages=90–91 |language=en}}</ref> A history of western painting generally asserted “works chiefly pass as the works of Van Dyck; when he went back to Dunkirk for 30 years he painted much for the churches there, and his style and handling we can thus settle,” and grouped him with two other “alien” assistants of Van Dyck, [[David Beck]] and [[Adriaen Hanneman]].<ref>{{Cite book |last=MacFall |first=Haldane |author-link=Haldane MacFall |url=https://catalog.hathitrust.org/Record/103032737 |title=A history of painting |date=1922 |publisher=D. D. Nickerson |volume=VII: The British Genius |location=Boston |pages=62–63 |oclc=2149536 |via=New York Public Library, HathiTrust}}</ref>
Some of his works are on display at {{Interlanguage link|Musée des Beaux-Arts de Dunkerque|fr}}.<ref>{{Cite book |last=Ruler |first=John |url=https://books.google.com/books?id=UwXioEolUbMC&dq=%22Jean+de+Reyn%22&pg=PA79 |title=Cross-Channel France: Nord-Pas De Calais: The Land Beyond The Ports |date=2011-01-25 |publisher=Bradt Travel Guides |isbn=978-1-84162-327-6 |pages=79 |language=en}}</ref> As of 1880 his ”Wedding of Thetis and Peleus” was in [[Madrid]].<ref name=”:1″ /> The [[Royal Museums of Fine Arts of Belgium|Brussels Museum]] has a ”Female Portrait” dated 1637 that was misattributed to him beginning in the 19th century.<ref name=”:0″ /><ref>{{Cite journal |last=Van Der Wey |first=B. W. |date=January 2006 |title=Jean de Reyn of Jan van Rijn? Een portret van de Haagse schilder Jan Pietersz. van Rijn in de Koninklijke Musea voor Schone Kunsten van België te Brussel |url=https://brill.com/view/journals/oh/119/1/article-p65_5.xml |journal=Oud Holland – Quarterly for Dutch Art History |volume=119 |issue=1 |pages=65–71 |doi=10.1163/187501706X00285 |issn=0030-672X}}</ref>
Some of his works are on display at {{Interlanguage link|Musée des Beaux-Arts de Dunkerque|fr}}.<ref>{{Cite book |last=Ruler |first=John |url=https://books.google.com/books?id=UwXioEolUbMC&dq=%22Jean+de+Reyn%22&pg=PA79 |title=Cross-Channel France: Nord-Pas De Calais: The Land Beyond The Ports |date=2011-01-25 |publisher=Bradt Travel Guides |isbn=978-1-84162-327-6 |pages=79 |language=en}}</ref> As of 1880 his ”Wedding of Thetis and Peleus” was in [[Madrid]].<ref name=”:1″ /> The [[Royal Museums of Fine Arts of Belgium|Brussels Museum]] has a ”Female Portrait” dated 1637 that was misattributed to him beginning in the 19th century.<ref name=”:0″ /><ref>{{Cite journal |last=Van Der Wey |first=B. W. |date=January 2006 |title=Jean de Reyn of Jan van Rijn? Een portret van de Haagse schilder Jan Pietersz. van Rijn in de Koninklijke Musea voor Schone Kunsten van België te Brussel |url=https://brill.com/view/journals/oh/119/1/article-p65_5.xml |journal=Oud Holland – Quarterly for Dutch Art History |volume=119 |issue=1 |pages=65–71 |doi=10.1163/187501706X00285 |issn=0030-672X}}</ref>
==References==
==References==
Flemish painter (1610–1678)
Jan van Rijn or Jean de Reyn was born at Dunkirk about the year 1610, and went when he was young to Antwerp, where he became a student of van Dyck.[1] Such was his progress under that master, that he was invited to accompany him to England, where he continued to assist him until van Dyck’s death in 1641.[1] He afterwards established himself in his native town, where he painted several admirable pictures for the churches, and was much employed as a portrait painter.[1] His principal works for the churches at Dunkirk were the Death of the Four Royal Martyrs (Les Quatre Martyrs) for the Church of Saint-Éloi; and the Baptism of Totila (Baptême de Totila), for the church of the English convent.[1]
There are many of his portraits in private collections, “which are little inferior to those of Van Dyck.”[1] The principal altarpiece in the parochial church of St. Martin (Église Saint-Martin de Bergues), at Bergues St. Vinox, near Dunkirk, is by this master: it represents Herodias bringing the Head of St. John to Herod (Héro-diade apportant la tête de saint Jean.[1] De Reyn died at Dunkirk on May 20, 1678, and was buried in Saint-Éloi.[2]
A biographical dictionary of Flemish painters characterized his work as “correct drawing; pure and soft colors; weak brushwork; beautiful arrangement; skillful and effective chiaroscuro. His portraits are worthy of his master.”[3] He was described by a Van Dyck biographer in 1878 as “a man of high talents, but too dependent to carve his own destiny.”[4] A history of western painting generally asserted “works chiefly pass as the works of Van Dyck; when he went back to Dunkirk for 30 years he painted much for the churches there, and his style and handling we can thus settle,” and grouped him with two other “alien” assistants of Van Dyck, David Beck and Adriaen Hanneman.[5]
Some of his works are on display at Musée des Beaux-Arts de Dunkerque.[6] As of 1880 his Wedding of Thetis and Peleus (Noces de Thétis et Pelée) was in Madrid.[3] The Brussels Museum has a Female Portrait dated 1637 that was misattributed to him beginning in the 19th century.[1][7]
- ^ a b c d e f g
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). “De Reyn, Jan”. In Graves, Robert Edmund (ed.). Bryan’s Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
- ^ Bouchet, Emile (1871). Histoire populaire de Dunkerque (in French). J. Liénard. p. 167.
- ^ a b n.a. (1880-04-30). “[Reyn, J.] DICTIONNAIRE HISTORIQUE DES PEINTRES DE L’ÉCOLE FLAMANDE DEPUIS LES TENPS ANCIENS JUSQU’A NOS JOURS” [Historical Dictionary of Painters of the Flemish School from Ancient Times to the Present Day (continued)]. Journal des beaux-arts et de la littérature: 220000 (in French). 22 (8): 62, col. 3. doi:10.11588/DIGLIT.18917 – via Heidelberg University Historic Literature.
Dessin correct; coloris pur et moelleux; pinceau faible; belle ordonnance; clair-obscur savant et plein d’effet. Ses portraits sont dignes de son maître.
- ^ Sweetser, Moses Foster (1878). Van Dyck. Houghton, Osgood. pp. 90–91.
- ^ MacFall, Haldane (1922). A history of painting. Vol. VII: The British Genius. Boston: D. D. Nickerson. pp. 62–63. OCLC 2149536 – via New York Public Library, HathiTrust.
- ^ Ruler, John (2011-01-25). Cross-Channel France: Nord-Pas De Calais: The Land Beyond The Ports. Bradt Travel Guides. p. 79. ISBN 978-1-84162-327-6.
- ^ Van Der Wey, B. W. (January 2006). “Jean de Reyn of Jan van Rijn? Een portret van de Haagse schilder Jan Pietersz. van Rijn in de Koninklijke Musea voor Schone Kunsten van België te Brussel”. Oud Holland – Quarterly for Dutch Art History. 119 (1): 65–71. doi:10.1163/187501706X00285. ISSN 0030-672X.
