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Dieric Bouts the Elder biography

Facts about Dieric Bouts the Elders life

DIRK BOUTS biography ,learn from his life the philosophy of his life


Bouts was born in haarlem where he took training under painter Albert van Ouwater. He then started living in the Flemish city of Louvain. The records of Louvain do mention the name of Bouts in 1457 and 1468 when he worked as city painter.

It is assumed he worked in Bruges, since his early work INFANCY ALTARPIECE betrays a strong and distinct stamp of Petrus Christus who was the leading master of the city after Jan Van Eyck died. DEPOSITION ALTARPIECE
(c 1450),shows strong links with Rogier van der Weyden
In figure types and composition. The early influence of Petrus Christus had fully waned which is evident in ENTOMBMENT in LONDON, 1460.

By this time Bouts’ own style started showing in the fluid and continuous landscape paintings. THE LAST SUPPER ALTARPIECE(1464-67) was the pinnacle of Bouts’ career.He has exhibited spiritual grandeur in this solemn and dignified work. The central panel of the altarpiece is the emphatic presentation of the theme as seen in Northern Europe art.
The wings containing the Old Testament themes are more loosely depicted. Rhythmic foreground compositions combined with fluid and dramatic spatial recessions eschews the symmetry and rigidity of the axial construction in the main panel. In 1465 Bouts married Katharina van der Brugghen, the daughter of a respectable Louvain family.

The town hall at Louvain commissioned Bouts to do four panels, dwelling on the topic of justice in 1468. When Bouts died in 1475, only two panels had been done. The central theme depicts the wrongful execution of the Count of Emperor Otto III and how the Count’s wife vindicates her husband. The final scenes show the fire trial where the Count’s wife proves his innocence. Gorgeous drapery and
Rich color schemes are employed to create a work of rare elegance and profound art appeal.

To confer dignity on the event the artist has concealed the gestures and expressions and rationalized space utilization. ‘The Last Supper’ and other works show that Bouts displays solemn and hieratic importance by rigid symmetry of the theme, persons and places. Later works
PEARL OF BRABANT ALTARPIECE and others show how his two sons jointly worked : DIRK the younger,1448-1491;
and AELBRECHT (1455/60-1549). However in the works turned out by his less endowed sons there were complete alterations in figure styles. Young appears not to have changed his father’


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