Jan Albertsz Rotius

Training under Pieter Lastman is recorded. The recorded working language is Dutch. Subjects and genres recorded for the work are portrait. The authority associates the name with Dutch Golden Age painting. Places of work recorded in the authority are Alkmaar and Hoorn. Works named in the authority record are Jan Cornelisz Meppel (1609-69). Work by Jan Albertsz Rotius is recorded in the collections of Amsterdam Museum, Westfries Museum, National Gallery of Ireland, Museum of Fine Arts Boston and Rijksmuseum.

• Illustration — Kitchen piece Rotius was born in Medemblik, North Holland where he was baptised on 20 October 1624. His baptismal name was 'Albert Jansz. Rootgies', but he later Latinized his name to Rotius, which was garbled by the early Dutch biographer Arnold Houbraken into Roodseus, possibly because in his marriage document he is listed as Rootseijus. Houbraken stated that Rotius was a pupil of Pieter Lastman, who died in 1633. If he was born in 1624, then he was only 9 years old when Lastman died. Such an apprenticeship therefore seems unlikely. In 1643 he became a member of the Alkmaar Guild of St. Luke, which may point to an initial training in that city. He moved to Hoorn in where, according to the local archives, Rotius married Maartje Ambrosiusdr in 1643. Of their seven children only three would live to adulthood, including the still-life painter Jacob Rotius who was born in Hoorn in 1644. Houbraken claimed that Jacob was a pupil of Jan Davidsz. de Heem and was quite successful as a flower painter, but died of "melancholy" at the age of 50. In his testament dated 16 October 1666, Rotius left all of his prints and drawings to his son Jacob Rotius or Rootius (1644–1682). He died in Hoorn a few days later, aged 42, and was buried in the Grote Kerk in Hoorn.

• Illustration — Hoorn schutterstuk, 1649 Rotius's schutterstukken were painted quite soon after similar paintings in Amsterdam were completed by Bartholomeus van der Helst and Govert Flink. Comparative study shows he was influenced by these paintings, and perhaps was encouraged to achieve similar effects by his patrons.