Jan Jansz den Uyl
Jan Jansz. Den Uyl (Utrecht (?), 1595/96 – 24 November 1639) was a painter of the Dutch Golden Age. He very much specialized in the form of still life known as the breakfast piece, or, in the elaborate style of painters like den Uyl, banquet pieces (banketjestukken).
Also recorded as Jan Jansz. den Uyl · Jan den Uyl · de ouwe Uijl · Jan Jansz. den Vuyl
Jan Jansz den Uyl
Jan Jansz den Uyl · The Cleveland Museum of Art · John L. Severance Fund · CC0
- Name
- Jan Jansz den Uyl the Elder
- Born
- 1595/96
- Birthplace
- Netherlands
- Died
- 1639
- Place of death
- Amsterdam, Netherlands
- Nationality
- Dutch Republic
- Occupation
- painter
- Fields
- still life
- Languages
- Dutch
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Jan Jansz. Den Uyl (Utrecht (?), 1595/96 – 24 November 1639) was a painter of the Dutch Golden Age. He very much specialized in the form of still life known as the breakfast piece, or, in the elaborate style of painters like den Uyl, banquet pieces (banketjestukken).
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wikidata · Q863840
In this article
Biography
Biography
He also painted landscapes and animal paintings. Den Uyl was well known in his time, and Peter Paul Rubens owned three of his paintings. The Dutch word uyl means "owl", and den Uyl always included the signature motif of an owl in his paintings, often more than once in a single picture. Sometimes the motif is obvious and sometimes it is more covert. For example, in his Breakfast Still Life with Glass and Metalwork (1637–39), in the Museum of Fine Arts, Boston, an owl is incorporated fairly obviously as the decorative finial on a large flagon, but the reflections in the pewter plates are also reminiscent of the face of an owl. He trained Jan Jansz. Treck, whose sister he married in 1619.
The recorded working language is Dutch. Subjects and genres recorded for the work are still life. Places of work recorded in the authority are Amsterdam. Work by Jan Jansz den Uyl is recorded in the collections of Museum Boijmans Van Beuningen, Royal Museum of Fine Arts Antwerp, Statens Museum for Kunst, National Gallery Prague and Museum of Fine Arts Boston.
Key facts
Key facts
• Name — Jan Jansz den Uyl the Elder • Born — 1595/96 • Birthplace — Netherlands • Died — 1639 • Place of death — Amsterdam, Netherlands
Places
Named by the record
Places
Only places the record itself states, plotted where the house gazetteer settles their coordinates. Nothing is inferred from a name or a nationality.
Northern Low Countries.
Birth place
Amsterdam.
Death place
Sources and external links
Sources and external links
• Link to copy of this article. • Link • Breakfast Still Life with Glass and Metalwork in Museum of Fine Arts, Boston catalogue.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.I. van Eeghen: Jan Jansz Uyl en Rembrandt als 'tamme eend'. In: Amstelodamum Maandblad (1977) S. 125.
- 2.A. Bredius und N. de Roever vermuteten, dass Den Uyl in Kampen geboren wurde, da dort Verwandte von ihm wohnten. „Zij hadden hier ter stede [Amsterdam] geen bloedverwanten van vaders zijde. Deze woonden te Kampen, en het is daarom niet onwaarschijnlijk, dat hun vader een geboren Kampenaar was.“ Abraham Bredius, Nicolaas de Roever: Oud Holland. Nr. 5, 1887, S. 232f.
- 3.Dies sind Trauregister für alle, die nicht der Reformierten Kirche angehörten. Jan Jansz. den Uyl war katholisch. Seine Eltern waren schon gestorben.
- 4.E. Trautscholdt. Uyl (Vuyl), Jan (Johannes) Jansz. (van). 34. 15. 16.
- 5.Transportakten auf Namen Uyl
- 6.H. de la Fontaine Verwey u. a.: Vier eeuwen Herengracht geveltekeningen van alle huizen aan de gracht, twee historische overzichten en de beschrijving van elk pand met zijn eigenaars en bewoners. Uitgegeven onder auspiciën van het Genootschap Amstelodamum. Stadsdrukkerij Amsterdam, Amsterdam 1976, ISBN 90-6274-001-4. Siehe unter: Herengracht 335.
- 7.2018-04. Stadsarchief Amsterdam.
- 8.Die Den Uyl’s lebten am Singel kurz hinter Kreuzung
- 9.I. van Eeghen: Jan Jansz Uyl en Rembrandt als 'tamme eend'. In: Amstelodamum Maandblad. (1977), S. 124.
- 10.DTB Stadsarchief Amsterdam
- 11.Art at auction in 17th century Amsterdam von John Michael Montias, S. 261, 66, 67, 68 books.google.nl
- 12.Rembrandt koopt een Rubens
- 13.John Smith: A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French painters. (1842), Nr. 302, Nr. 303, Nr. 304 (Band 2). books.google.nl
- 14.Gary Schwartz: Rembrandt, zijn leven, zijn schilderijen. (1987), S. 194.
- 15.Paul Crenshaw: Rembrandt's Bankruptcy: The Artist, His Patrons, and the Art Market in Seventeenth-Century Netherlands. Cambridge University Press, New York 2006, S. 182. http://books.google.nl/books?id=vat8JSgqjVUC&pg=PA182&lpg=PA182&dq=jan+jansz.+den+uyl+Van+Eeghen&source=bl&ots=zTddqRtSVa&sig=QGSmNirHCbBp3e7235Qk11qxuPk&hl=nl&ei=T5ZuTamsPMiWOsWjpd4I&sa=X&oi=book_result&ct=result&resnum=3&sqi=2&ved=0CC0Q6AEwAg#v=onepage&q=jan%20jansz.%20den%20uyl%20Van%20Eeghen&f=false
- 16.Bredius schrieb, dass er auf einem Stuhl am Feuer im Kellerzimmer saß. „1639. 17. Okt. (abends 10 Uhr). Testament von Jan Jansz. den Uyl und Geertie Jans, echtelieden, wonende op de Blomgraft (in Amsterdam). Der Mann ist sieck van lichame op een stoel voor 't vuyr in de kelderkamer sittende. Sie setzen sich gegenseitig zu Erben ein. (Unterzeichnet:) Jan Jansz Uyl“ Abraham Bredius: Künstler-Inventare. (1919), S. 2096 (Band 6).
- 17.Lage der Bloemgracht
- 18.J.M. Montias, S. 25
- 19.Stadsarchief Amsterdam
- 20.Fred G. Meijer, Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. 1525–1725. (2003), S. 198.
- 21.biografischportaal.nl oder rkd.nl
- 22.2018-04. DTB Stadsarchief Amsterdam.
- 23.E. Trautscholdt. Uyl (Vuyl), Jan (II). 34. 16.
- 24.20160104234456. Frick Collection The Montias Database of 17th Century Dutch Art Inventories.
- 25.A. Bredius In: Oud-Holland (1887), S. 231; (1917) Jan Jansz. den Uyl (Een nalezing), S.?
- 26.Bob Haak: Hollandse schilders in de Gouden Eeuw (1984), S. 310.
- 27.Abraham Bredius: Künstler-Inventare. (1919), S. 2084 (Band 6).
- 28.2018-04. Website und Bild.
- 29.Die beiden wesentlichen Übersichten sind: Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 61ff. N.R.A. Vroom: A modest message as intimated by the painters of the "Monochrome banketje" (1980), Katalog S. 127–130.
- 30.Banketstuk met kievitsei, datiert 1632 Alan Chong, Wouter Kloek: Het Nederlandse stilleven 1550-1720. (1999), S. 170.
- 31.A.P.A. Vorenkamp: Bijdrage tot de geschiedenis van het Hollandsch stilleven in de 17 eeuw. (1933), S. 43f. Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 49–64.
- 32.„Zich beperkend tot het schilderen van de simpelste composities, weet hij alles in een geheimzinnig licht te plaatsen, dat men bij de Haarlemmers niet vindt.“ Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 52.
- 33.Pieter de Boer wies auf das typische Auftreten der dunklen Tischdecke mit weißer Serviette und die charakteristische Kanne aus Zinn in den Werken Jan Jansz. den Uyls hin. Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 54, 59.
- 34.„An important question in forming our conception of the development of the Dutch breakfast-piece ist that of the relationship which may have existed between the leading Haarlem painters W.C. Heda, Pieter Claesz., and Gerrit Heda on the one hand, and Jan Jansz. den Uyl on the other.“ Ingvar Bergström: Dutch still-life painting in the seventeenth century. (1956), S. 152 „Obgleich wir keinerlei Nachricht über eine persönliche Bekanntschaft von Jan Jansz. den Uyl mit Pieter Claesz. oder Willem Claesz. Heda haben, ist die anregende Wirkung seiner Stilleben aus den frühen 30er Jahren offenkundig.“ Martina Brunner-Bulst: Pieter Claesz.: der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert. (2004), S. 173.
- 35.„Our study of Den Uyl has revealed him as a master with strong individual traits; he composed with large empty spaces in the foreground and background; he generally painted on an upright panel and had a special predilection for verticals. His sense of the monumental was more highly developed than that of any of his contemporaries in Dutch still-life art. He painted large big-bellied pewter flagons and reproduced the texture of the metal with unequaled skill.“ Ingvar Bergström: Dutch still-life painting in the seventeenth century. (1956), S. 152
- 36.„Jan Jansz. den Uyl heeft het eenvoudige stilleven tot een hoogen trap van volmaaktheid gebracht. Hij moet veel invloed op zijn tijdgenoten hebben gehad; zijn zwager Jan Jansz. Treck is wellicht zijn leerling geweest en verder heeft hij den weg voorbereid voor Willem Kalf […].“ Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 51 „[…] the only Dutch still-life painter of the best period who merits comparison with Willem Kalf.“ Ingvar Bergström: Dutch still-life painting in the seventeenth century. (1956), S. 153.
- 37.Ingvar Bergström: Another Look at De Heem’s Early Dutch Period. In: The Hoogsteder Mercury 7, 1988, S. 46.
- 38.Pieter de Boer hat in seinem Artikel 15 Gemälde als Werke Den Uyls identifiziert, wovon nur 5 mit einer kleinen Eule signiert sind. Pieter de Boer: Jan Jansz. den Uyl. In: Oud Holland. 57, 1940, S. 49–64.
- 39.Tazza: Schale mit skulpturenhaft ausgearbeitetem Fuß. Vgl. [Sam Segal]: Stilleben im Goldenen Jahrhundert - Jan Davidsz. de Heem und sein Kreis. Ausstellung im Centraal Museum in Utrecht, 16. Februar – 14. April 1991, und im Herzog Anton Ulrich-Museum in Braunschweig, 9. Mai – 7. Juli 1991. Herzog-Anton-Ulrich-Museum, Braunschweig 1991. ISBN 3-922279-19-8, S. 189.
- 40.Fred G. Meijer & Adriaan van der Willigen: A dictionary of Dutch and Flemish still-life painters working in oils. (2003), S. 199.
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The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 17 August 2026.
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