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Literature

K. de Clippel, 'Catharina van Hemessen (1528-na 1581): amateurschilderes, en toch pionier?', in Jaarboek van het Koninklijk Museum voor Schone Kunsten, Antwerp, 1998, pp. 243-92, fig. 23.

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Attributed to Catharina van Hemessen (Antwerp 1527/28-1560/80 ?) , Portrait of a lady, half-length, in a black dress with red sleeves, white cuffs and collar, and a white bonnet

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Literature K. de Clippel, 'Catharina van Hemessen (1528-na 1581): amateurschilderes, en toch pionier?', in Jaarboek van het Koninklijk Museum voor Schone Kunsten, Antwerp, 1998, pp. 243-92, fig. 23.

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Mulheres na Arte - Caterina Van Hemessen

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Caterina or Catharina van Hemessen was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.
Van Hemessen is often given the distinction of creating the first self-portrait of an artist depicted seated at an easel. This portrait, created in 1548, shows the artist in the early stages of painting a portrait and is now part of the collection of the Kunstmuseum Basel. Other paintings by van Hemessen are in the Rijksmuseum in Amsterdam and in the National Gallery, London.
A number of obstacles stood in the way of women of her time who wished to become painters. Their training would involve both the dissection of cadavers and the study of the nude male figure while the system of apprenticeship meant that the aspiring artist would need to live with an older artist for 4-5 years, often beginning from the age of 9-15.

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Catharina van Hemessen - Google Arts & Culture

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Caterina or Catharina van Hemessen was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.Van Hemessen is often given the distinction of creating the first self-portrait of an artist depicted seated at an easel.

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A post shared by Museu de Arte de São Paulo (@masp)

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Jan Sanders van Hemessen - 30 obras de arte - pintura

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reproduções de arte retrato de uma criança em um vestido branco bordado segurando um chapim-real. por catharina van hemessen

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reproduções de pinturas retrato de uma criança em um vestido branco bordado segurando um chapim-real. por catharina van hemessen

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gravura de qualidade de museu retrato de uma criança em um vestido branco bordado segurando um chapim-real. por catharina van hemessen

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reproduções de belas artes retrato de uma criança em um vestido branco bordado segurando um chapim-real. por catharina van hemessen

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Catharina Van Hemessen - Retrato de uma criança em um vestido branco bordado segurando um Chapim-real.

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Retrato de uma criança em um vestido branco bordado segurando um Chapim-real. por Catharina Van Hemessen (1528-1587, Belgium) | Reproduções De Belas Artes Catharina Van Hemessen | WahooArt.com

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Lista de pinturas de Catharina van Hemessen - List of paintings by Catharina van Hemessen

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O seguinte é uma lista de obras de Catharina van Hemessen que são geralmente aceitos como autógrafo pelo RKD e outras fontes.

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(Redirecionado de Caterina_van_Hemessen)

Catarina van Hemessen ( 1528 - depois de 1587) foi uma pintora renascentista flamenga. Ela é mais antiga pintora flamenga da qual existem trabalhos existentes verificáveis.

A van Hemessen é dada frequentemente a distinção de ter criado o primeiro auto-retrato de um artista, de ambos os sexos, sentado em um cavalete. O retrato, criado em 1548, que mostra a artista nos estágios iniciais de pintar um retrato, está atualmente no Öffentliche Kunstsammlung, em Basileia. Outras pinturas de van Hemessen estão no Rijksmuseum, em Amsterdã, e na Galeria Nacional de Londres.

Índice

Assim como muitas pintoras renascentistas, ela era filha de um pintor, Jan Sanders van Hemessen (c. 1500 - depois de 1563), que provavelmente foi seu professor. Ela passou a criar retratos de homens ricos e de mulheres geralmente colocadas com um fundo preto.

Ela é mais conhecida por um auto-retrato, exibido em Basileia. Ela registrou o quadro no ano 1548, aos 20 anos de idade. Seu sucesso é marcado por sua boa permanência na Guilda de São Lucas e sua eventual posição como professora de três estudantes.

Catarina ganhou uma importante cliente nos anos 1540, Maria da Áustria, que atuou como regente dos Países Baixos para seu irmão Carlos V. Em 1554, van Hemessen casou-se com Christian (ou Chrétien) de Morien, um organista da Catedral de Antuérpia, que tinha na época um importante posto. Em 1556, quando Maria deixou seu posto e retornou para a Espanha, Catarina e seu marido também se mudaram, convidados pela sua freguesa, para o país. Dois anos depois, quando Maria morreu, foi dada a van Hemessen uma considerável pensão. Ela e seu marido voltaram para a Antuérpia. Ela foi mencionada na Descrição dos Países Baixos de Guicciardini, em 1567, como uma das artistas femininas vivas. Catarina faleceu depois de 1587.

Ela criou retratos caracterizados principalmente pelo realismo. Os modelos, muitas vezes sentados, geralmente eram vistos contra um fundo escuro ou neutro. Este tipo de moldura e ambientação é feita para um retrato íntimo. Não há nenhuma obra existente depois de 1554, o que leva alguns historiadores a acreditarem que sua carreira artística teria acabado depois de seu casamento.

Obras selecionadas

Portrait of a Lady, 1551, Galeria Nacional de Londres.

Portrait of a Lady in 16th Century Dress, Bowes Museum

Young Woman Playing the Virginals, 1548, Cologne, Wallraf-Richartz Museum

Referências

Chadwick, Whitney, Women, Art, and Society, Thames and Hudson, Londres, 1990

Harris, Anne Sutherland e Linda Nochlin, Women Artists: 1550-1950, Los Angeles County Museum of Art, Knopf, Nova York, 1976

Kemperdick, Stephan. The Early Portrait, da Collection of the Prince of Liechtenstein and the Kunstmuseum Basel. Munique: Prestel, 2006. ISBN 3-7913-3598-7

Kleiner, Fred. Gardner's Art Through the Ages. Wadsworth, 2009. ISBN 0-4955-7364-7

Categorias: Nascidos em 1528 | Mortos no século XVI | Mortos em 1587 | Pintores da Flandres | Retratistas | Membros da Guilda de São Lucas | Belgas do século XVI

Data da informação: 31.05.2020 07:41:58 CEST

Fonte: Wikipedia (Autores [História]) Licença: CC-by-sa-3.0

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(Redirecionado de Caterina_van_Hemessen) Catarina van Hemessen ( 1528 - depois de 1587) foi uma pintora renascentista flamenga. Ela é mais antiga pintora flamenga da qual existem trabalhos existentes verificáveis. A van Hemessen é dada frequentemente a distinção de ter criado o primeiro auto-retrato de um artista, de ambos os sexos, sentado em um cavalete.

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Caterina ou Catharina van Hemessen Giovanni Benedetto Platti

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In the past, female artists have not always been valued. Most were overshadowed by their male counterparts, excluded from education and the art world, so that their names never appear in the history books. Heleen Debruyne takes them out of oblivion and gives them the honour they deserve. In the first episode we present you Catharina van Hemessen: 'She made a name for herself - and not as a slavish follower of her father's slightly pompous style.'
She looks a bit forlorn, there behind her easel, but does not seem hesitant about sketching the woman's face on her canvas. Or is that intense concentration that we see in her eyes? Perhaps she fears getting paint on the expensive, velvet dress that she doesn't usually wear when she's painting. Or does she look at us like this because she's trying something radical and new?

The pale, girlish face doesn't immediately suggest that this woman could be an innovator in the art of painting, but do not underestimate her. Her self-portrait, done in 1548, is the first in the Low Countries to show an artist at work. The text at the side of the painting, Ego Catharine de Hemessen me pinxit (roughly: Catherine van Hemessen painted me) shows her pride in her work. This, too, is exceptional, as there are not many signatures of female artists dating from this period. Of course, not all painters signed their work and women were not admitted to the guilds or academies. It was too dangerous: they might pick up naughty ideas from exposure to all the nude models.

But Catherina was the daughter of the artist Jan van Hemessen. His fashionable compositions - a bit of Renaissance style, many genre painting and Biblical scenes in 16 th-century costume - sold well. The rich patricians of dynamic 16 th-century Antwerp liked to display their artistic tastes.

As a child, Catharina must have spent a lot of time hanging out in her father's studio between the paintbrushes and pigments. Maybe she copied her father's paintings on spare pieces of wood until her father could no longer deny her talent. She may have been allowed to help paint backgrounds or clothing on his canvases. In this way, she served her apprenticeship. Painters' daughters often worked in the family studios, though usually behind the scenes. But she didn't stop there.

She tried her hand and even made a name for herself - and not as a slavish follower of her father's slightly pompous style. The thirteen works that we know of, signed by her, primarily represent portraits and human forms on sober backgrounds. The elite enjoyed being painted by her and probably found it exciting and daring to pose for such a young woman. They stood there, static, in their expensive lace and brocades with their velvet hats and stiff white collars, but still Catharina managed to capture the nuances of their personalities.

A slight downward turn at the corner of the mouth, blue shading under puffy eyes, a suspicious glance to the left: these were the details that brought her subjects to life. And then there is her Lamentation of Christ, which shows that she dared to take on more important themes. This is a composition of several figures with the naked, broken body of Christ in the foreground, the city of Jerusalem in the background.

It seems that Catharina emulated the style and techniques of the Flemish Primitive School and not the Italianate style of her father. The painting is more concerned with emotion than form: consider the tenderness with which Mary Magdalene holds the dead hand of Christ, or how John the Baptist wipes away his tears with a handkerchief.

We will never know how Catharina felt or what she thought about while working but we can speculate on a few things. Was she conversant in Latin? Her signature text suggests that she was. The idea to paint herself at her easel may have come from an illustrated book of Plinius that was in circulation at that time, which included miniatures of famous female painters of the Classical World at work.

Catharina was most productive before her marriage in 1554 to Christian de Morien at the age of twenty-six. De Morien was an organist and composer in the service of Maria of Hungary, regent of the Low Countries and sister of Emperor Charles V. Was Catharina willing to step aside and busy herself with home-keeping in support of her husband's career? Or did she feel frustrated and invisible? De Morien was happy to include his painter-wife: at the palace of Maria of Hungary, in Brussels, she was a lady of the court.

When the empress moved her court to Madrid, the couple accompanied her. Catharina took charge of the artistic training of the ladies-in-waiting - though we can only wonder whether instructing elegant women with perhaps very little artistic talent was something she enjoyed. Regardless, the couple maintained an excellent relationship with the empress, who, when she died, she noted in her will that their 'unique and excellent' services made them deserving of a bequest large enough to allow them to finance the rest of their lives in Antwerp. However, the couple moved a few years later to 's Hertogenbosch, where Christian took up a post at the Chapter of St. John.

Catharina continued to be a trailing spouse, supporting her husband's career, yet she still made a name for herself. In 1567, Guicciardini described her as one of the "celebrated women in the arts sill living" in his Descrittione tutti di paesi bassi ( Description of the Low Countries). A century later, an artist from Dordrecht by the name of Johan van Beverwijk, returned to the subject of Catharina van Hemessen in his Van de Uitnementheyt des Vrouwelicken Geslachts ( On the Excellence of the Female Gender). Today, the girl with the thoughtful, pale face has her own Wikipedia page, where the composer Christian de Morien is referred to as 'the husband of...'.

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Catharina van Hemessen Brought People to Life in Small Details

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In the past, female artists have not always been valued. Most were overshadowed by their male counterparts, excluded from education and the art world, so that their names never appear in the history books. Heleen Debruyne takes them out of oblivion and gives them the honour they deserve.

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Caterina van Hemessen (Katharina van Hemmessen) was a highly successful painter. Queen Mary of Hungary, is said to have been her biggest admirer. Van Hemessen married Christian de Morien in 1554, and then she ended her art career. Art historians say this is true because there is no evidence of any paintings by her after the date of her marriage. It was customary for women to give up painting after they were married. Queen Mary admired her talent so much that when the Queen died in 1558, she left a sizable endowment for the couple, so they could live out their lives in comfort.

Caterina van Hemessen was born in 1527 in Antwerp, Belgium. Her father, Jan Sanders van Hemessen was a well known Mannerist painter. Her father taught her to paint, she also helped him on many of his works. Van Hemessen painted portraits of the wealthy women and men of her era. Her works are usually small pictures of people against a bland dark background.

Her self-portrait displays a very young, shy woman, that has a look of sadness upon her face. She holds a brush, pallet, and other painter's tools in her left hand, and is beginning to work on a picture, holding a fine brush carefully in her right hand. This may be the first image of an artist at work done as a self-portrait. Her two paintings, entitled " Portrait of a Lady" and "Portrait of a Man" are similar to one another, and are rumored to actually be paintings of herself and her husband. Both paintings portray a thin man and woman who have a serious look about them. The lady holds a small dog, and a rosary at her waist; while the man holds a sword. Both subjects appear to have the same sad expression seen in her earlier self-portrait. There are ten signed and dated works by van Hemessen that are known to exist, they now reside in the National Gallery in London, and in the Rijksmuseum in Amsterdam.

Caterina stopped painting after her marriage in 1554, as was customary for a women to do in that day. Since she stopped painting in her twenties her work will most likely never reach its full artistic recognition. Her portraits are both charming, and have an appealing intimacy to them.

Van Hemessen's work includes several religious paintings based on historical events, with large groups of figures, these works were not as successful as her portraits. It is unknown if she created any paintings while living in Spain, research ers continue looking for any of her artwork that she may have done while living there.

Caterina died in 1587 in Antwerp at the age of 60 of natural causes. She lived comfortably throughout her life as Queen Mary had hoped.

There is not much information about Caterina available, as I found while researching her. It is sad that an artist with the talent and skill that she had, ended her painting career when she got married. I think she could have been one of the more famous artists of her time, had she continued painting.

Her artwork is beautiful, and it seems like the people in the portrait are never looking at you, as they are in many other paintings of that era.

There are few example s of her work online, Here are some pictures of her artwork:

Her self portrait http://www.csupomona.edu/~plin/women/images/vanhemessen_big.jpg

Portrait of a Lady http://worldart.sjsu.edu/Images/wom01_women/wom01009.jpg

Portrait of a Man http://www.nationalgallery.org.uk/WebMedia/Images/10/NG1042/eNG1042.jpg

A Lady With a Rosary http://www.nationalgallery.org.uk/WebMedia/Images/18/NG1860/eNG1860.jpg

Young Woman Playing The Virginals http://www.bluffton.edu/womenartists/womenartistspw/hemessen.jpg

More information on other lesser known female artists can be found here

Source: Women Artists. 1st ed. : Ruggio Publishing, 1977.

Image Sources:

http://www.csupomona.edu
http://worldart.sjsu.edu
http://www.nationalgallery.org.uk
http://www.bluffton.edu

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Caterina van Hemessen (Katharina van Hemmessen) was a highly successful painter. Queen Mary of Hungary, is said to have been her biggest admirer. Van Hemessen married Christian de Morien in 1554, and then she ended her art career. Art historians say this is true because there is no evidence of any paintings by her after the date of her marriage.

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In Italy around the 14th century, the economy changed and wealth became measured by money instead of land. People left the countryside and went to find their wealth in cities. The reorganization of wealth and power was known as the Renaissance, and it was in full swing all through Europe by the 16th century.

The Renaissance changed the focus of art from religion to an appreciation of Roman and Greek styles. Art grew and changed immensely during the Renaissance as opportunities for artists were better than they had ever been. Women, however, would not reap as many of the benefits of the Renaissance as their male counterparts did, in fact, it actually made life as an artist more difficult for them. Women were still expected to perform many of the same household duties as they had before the Renaissance. Women of upper class experienced a decline in opportunities and activities that were available to them. They were restricted to the roles of being a wife and mother. The exception to this was those women who joined convents. The education of peeress was suddenly confined to religion and skills that would have made them better housewives. All the advances for women of Renaissance Italy, its pro- capitalist economy, and its culture, worked to make the woman into an aesthetically pleasing object. Women were expected to be proper ladies, and they were expected to be completely dependent on their husbands or family.

Aspiring female artists faced obstacles that were enormous and often overwhelming. The cultural belief about women's roles frowned upon their emotional independence. A woman's rights had been severely restricted, and their access to artistic training was extremely limit ed. It is no surprise that the few women that were able to succeed in painting or sculpting were daughters of artists.

Female artists were rare in the 15th century. Styles had changed dramatically and women who remained in convents could not keep up with the changes. Studying the male nude was considered to be taboo, and thus, was forbidden to women. The nude form was very important to the artwork of this era. Artists would have to travel to shows and art exhibitions all over Europe, which most women were unable to do. Professional training was almost impossible for women to receive. Without the training and exposure, very few women painters were hired by noble courts and even fewer would receive commission s for public works of art.

By the mid-16th century, the average age of a woman who got married had increased to 19 or 20 years old. This gave them more time to develop their artistic ability, but once married, they were still considered to be property of their husbands. Few men wanted their wives spending time on endeavors such as art, which was considered to be frivolous, when there was still housework to be done. Even if a man did allow his wife to work on her art, he would have kept her from displaying it in public.

The 17th century brought about another change in the world of art. Artistic styles began to change, imitation of former master artists became popular. This period would produce two distinct styles, that would remain in competition to each other through the 17th century. The first group of artists, known as Naturalists, portrayed passion, landscapes, and independence in their work. The other style was that of the Academicians. They would neglect conventional beauty and instead they would portray the darker, more violent side of humanity.

Throughout the 17th and 18th centuries the number of female artists would increase. As attitudes towards women in art began to change, and restrictions on them were more relaxed, they became much more noticeable. By the 18th century, women were not getting married until they were in their mid 20s, and were also having fewer children than in earlier times. Art academies began to welcome talented women and men no longer kept their wives behind locked doors.

Women artists have been neglected in the art world for many centuries. They have struggled for even the smallest mention. The restrictions on what they could paint and who would teach them to paint were everywhere. Their works were scrutinized much more than male artists, and yet they still produced great works of art. The lack of representation for female artists in Renaissance Europe was a culmination of a number of rules, stigmas, and constraint s against women.

Some of these female artists have had the credit for their works given to male artists, even though the female artists did the work. I believe that these artists deserve the same recognition and notoriety, since their works are just as important to art history.

Many of these artists were pioneers in their chosen forms of art. Their works date from the 15th century through the 20th century.

Below is a list of the female artists that have accomplished what many female artists could not, they were able to reach some measure of success, during times when men dominated the art world. Many of these female artists' works are very valuable and highly sought after by art connoisseur s for their beauty, as well as the fact that they were painted when female artists were the exception to the rule.
1400 - 1500 1600 - 1700 1800 - 1900 2000

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In Italy around the 14th century, the economy changed and wealth became measured by money instead of land. People left the countryside and went to find their wealth in cities. The reorganization of wealth and power was known as the Renaissance, and it was in full swing all through Europe by the 16th century.

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Prova de independência e de um modo diferente de pensar trabalha num estúdio próprio, tendo, no entanto, o pai como seu agente inexorável e devotado.

Mantinha-se a pintar com entusiamo e um frenesim total. Arranjava ainda tempo para receber no seu estúdio hóspedes ilustres, nobres com quem partilhava entretenimento e música.

A sua fama era tal que de vários pontos da Europa a vinham ver trabalhar. Mas ainda mais interessante é o facto de outras meninas quererem ter aulas com ela, a quem considerariam um exemplo a seguir e a emular. Elisabetta Sirani cria assim a primeira escola de pintura para Meninas. Única no seu género e também a primeira. As suas irmãs Anna Maria e Bárbara foram assim suas alunas.

O trabalho incansável conduz, provávelmente, ao agravamento do seu estado de saúde.

Morre de uma perfuração de úlcera gástrica aos 27 anos de idade entre dores indizíveis.
Suspeitas de envenenamento recaem sobre a criada da família que é sujeita a um longo processo crime e posterior afastamento de Bolonha e nunca toalmente ilibada.

Embora as provas não tenham apontado em tal sentido, quer da parte do pai quer de amigos, como Malvasia, a versão da morte prematura de Elisabetta que fica para a história é a versão do envenenamento que, poderemos considerar mais romântica e trágica que uma (terrível) perfuração de úlcera.

Pintora de génio, trabalhadora incansável e de técnica exímia, em 10 anos deixou-nos cerca de duzentas obras ( devidamente auto assinaladas em " Nota delle pitture fatte da me Elisabetta Sirani").
Essas, sim, testemunho da estrela fulgurante que foi Elisabetta Sirani.

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Prova de independência e de um modo diferente de pensar trabalha num estúdio próprio, tendo, no entanto, o pai como seu agente inexorável e devotado. Mantinha-se a pintar com entusiamo e um frenesim total. Arranjava ainda tempo para receber no seu estúdio hóspedes ilustres, nobres com quem partilhava entretenimento e música.

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En sus talleres, los pintores crearon infinidad de cuadros y tablas con inmortales pinturas religiosas; talleres en los que las nuevas generaciones de artistas aprendían de los maestros y aportaban su propio e incipiente talento.

En esos hermosos y caóticos lugares de creación artística, a veces se colaron mujeres, la mayoría de las veces hijas de pintores que les permitieron desarrollar su arte a pesar de su género.

Uno de los primeros nombres femeninos de los que se tiene constancia que lo hiciera y terminara siendo pintora profesional fue Catharina van Hemessen.

Nacida en la ciudad belga de Amberes hacia 1528, Catharina vivió entre pinturas y pinceles desde su más tierna infancia.

Su padre, el pintor manierista Jan Sanders van Hemessen, había llegado hasta lo más alto primero como maestro y posteriormente como decano del gremio de pintores de San Lucas de Amberes.

Buena parte de su obra se centraba en retratos y pinturas religiosas, temáticas que también asumiría su hija como propias.

Catharina aprendió rápido en el taller familiar y pronto pasó de ser aprendiz a colaboradora. Expertos en arte afirman que la joven pintora participó en la elaboración de algunos de los cuadros de su padre.

Catharina van Hemessen tuvo el privilegio de viajar junto a sus hermanos a Italia, por aquel entonces el epicentro del mundo artístico, donde se impregnó de la belleza de sus obras de arte y aprendió todo lo que pudo para convertirse ella también en una talentosa pintora.

La obra pictórica de Catharina van Hemessen es reducida, aunque no por ello menos brillante. Sus retratos y autorretratos se convirtieron en punto de referencia para otras artistas que emularían su estilo.

También pintó hermosas obras religiosas, inspiradas en lienzos como La Sagrada Familia pintada por su propio padre.

Dicha influencia se encuentra claramente en su preciosa obra Descanso en la huida a Egipto, en la que la Virgen María abraza cariñosamente a su hijo.

Su Encuentro de Cristo con Verónica es una magnífica composición con muchos personajes de claro estilo flamenco en el que expresa con gran maestría el dolor y la solemnidad del momento.

Public domain

En la actualidad, muy pocas personas saben de la existencia de esta mujer quien, en vida, recibió un amplio reconocimiento a su talento artístico y llegó incluso a vivir de él.

Tal fue su fama que, además de vivir de sus hermosos retratos, fue llamada a la corte de María de Hungría, reina viuda de aquel país que por aquel entonces ejercía de regente de los Países Bajos al servicio de su hermano, el emperador Carlos V.

En 1554, una reputada Catharina van Hemessen, convertida en pintora respetada por la alta sociedad de la ciudad, se casaba con Chrétien de Morien, organista de la catedral de Amberes, uno de los puestos más importantes por aquel entonces.

Por desgracia, no era extraño en aquella época que las pocas mujeres que desarrollaban algún talento artístico o alguna profesión, tuvieran que abandonarla cuando contraían matrimonio.

Después de esa fecha, desaparecen las obras firmadas por Catharina. Sin embargo, expertas como Eleanor Tufts aseguran que Catharina no dejó nunca de pintar, sobre todo sus dos géneros preferidos, el retrato y la temática religiosa.

Dos años después, el destino de la princesa regente cambiaría su vida. En 1556, María de Hungría abdicaba de su cargo en los Países Bajos y decidía marcharse a España para compartir el retiro de su hermano el emperador. María invitó a su querida Catharina y a su esposo a acompañarla y aceptaron la propuesta.

Al parecer, su padre, quien también había estado al servicio de María de Hungría, se encontraba así mismo en España, inmerso en la elaboración de un hermoso retablo para el Monasterio Jerónimo de Santa Ana en Tendilla.

Muchos expertos aseguran que algunas de las mejores piezas del mismo, como el Nacimiento de Cristo, el Calvario o algunos retratos de santos fueron obra del pincel de Catharina.

En 1558 fallecía la antigua regente de los Países Bajos. En su testamento, legaba a Catharina van Hemessen y su marido una pensión vitalicia que les permitiría vivir holgadamente el resto de sus vidas.

La pareja regresó entonces a Amberes, donde la artista tuvo una existencia tranquila hasta su muerte, acaecida en algún momento alrededor de 1587.

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Orden Franciscana Seglar en México: Catharina van Hemessen: Pintora de hermosas escenas bíblicas

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En sus talleres, los pintores crearon infinidad de cuadros y tablas con inmortales pinturas religiosas; talleres en los que las nuevas generaciones de artistas aprendían de los maestros y aportaban su propio e incipiente talento.

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Catharina van Hemessen - O primeiro autorretrato de uma mulher artista | #Top100Elas [6]