| Born | 1558 (Bracht) |
| Died | January 1, 1617 (Haarlem) |
| Nationality | Netherlands |
| Epochs | Mannerism |
| Genre | history painting, portrait, vanitas |
| Profession | painter, graphic artist, copper engraver, draftsperson, art collector, print publisher, xylographer, exlibrist, glass painter, etcher, publisher, engraver |
| Family | Father: Jan Goltzius |
| Teacher | Lambert Lombard, Dirck Volkertszoon Coornhert, Philipp Galle |
| Student | Christoffel van Sichem, Jakob Matham, Pieter de Grebber, Gillis van Breen, Salomon de Bray, Zacharias Dolendo, Matthias Quad, Werner van den Valckert, Jan Saenredam, Jakob de Gheyn II., Jan van den Bergh |
| Notable works | Der Sündenfall (1616), Venus und Amor mit zwei Satyrn (1602), Man of Sorrows with a Chalice (Christ as Redeemer) (1614), Hans Bol (1593), Lot und seine Töchter (1616) |
| Museums | Art Institute of Chicago, ETH Graphische Sammlung, Statens Museum for Kunst, Princeton University Art Museum, National Gallery of Art |
Hendrick Goltzius, born in the frosty winter days of 1558 in Bracht, was not only a master of art, but also a pioneer for the art of copperplate engraving. In a country known for its scientific and artistic revolution, Goltzius set a monument to himself.
Shaped under the watchful eye of Dirck Volkertszoon Coornhert and Philipp Galle, Goltzius developed an affinity for the technique of engraving. With a tireless curiosity, he traveled Italy and Germany, making "treffliche Studien". Despite a malformed right hand - a childhood scar from a painful burn - he perfected his art with such brilliance that he depicted himself in a special self-portrait showing the hand as ideal for his profession. A legend says that he stabbed with his right hand and painted with his left, which was also confirmed by his biographer Karel van Mander.
In his forties, Goltzius found a new passion: painting. Although he was already at the peak of his art as an engraver, he allowed himself to be carried away by the Mannerist current of the time. From erotic allegories to dramatic motifs of violence; his works are a kaleidoscope of emotions and techniques. And yet it was not only his own art that shone. As a teacher, he shaped the elite of his time, including Jacob de Gheyn II and Jan Saenredam. They all carried on his influence and shaped the art world for generations. An art print by Goltzius is not only a representation of his talent, but also a testament to the depth and diversity of art history that is continually brought to life in our collection.
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| Born | 1558 (Bracht) |
| Died | January 1, 1617 (Haarlem) |
| Nationality | Netherlands |
| Epochs | Mannerism |
| Genre | history painting, portrait, vanitas |
| Profession | painter, graphic artist, copper engraver, draftsperson, art collector, print publisher, xylographer, exlibrist, glass painter, etcher, publisher, engraver |
| Family | Father: Jan Goltzius |
| Teacher | Lambert Lombard, Dirck Volkertszoon Coornhert, Philipp Galle |
| Student | Christoffel van Sichem, Jakob Matham, Pieter de Grebber, Gillis van Breen, Salomon de Bray, Zacharias Dolendo, Matthias Quad, Werner van den Valckert, Jan Saenredam, Jakob de Gheyn II., Jan van den Bergh |
| Notable works | Der Sündenfall (1616), Venus und Amor mit zwei Satyrn (1602), Man of Sorrows with a Chalice (Christ as Redeemer) (1614), Hans Bol (1593), Lot und seine Töchter (1616) |
| Museums | Art Institute of Chicago, ETH Graphische Sammlung, Statens Museum for Kunst, Princeton University Art Museum, National Gallery of Art |
Hendrick Goltzius, born in the frosty winter days of 1558 in Bracht, was not only a master of art, but also a pioneer for the art of copperplate engraving. In a country known for its scientific and artistic revolution, Goltzius set a monument to himself.
Shaped under the watchful eye of Dirck Volkertszoon Coornhert and Philipp Galle, Goltzius developed an affinity for the technique of engraving. With a tireless curiosity, he traveled Italy and Germany, making "treffliche Studien". Despite a malformed right hand - a childhood scar from a painful burn - he perfected his art with such brilliance that he depicted himself in a special self-portrait showing the hand as ideal for his profession. A legend says that he stabbed with his right hand and painted with his left, which was also confirmed by his biographer Karel van Mander.
In his forties, Goltzius found a new passion: painting. Although he was already at the peak of his art as an engraver, he allowed himself to be carried away by the Mannerist current of the time. From erotic allegories to dramatic motifs of violence; his works are a kaleidoscope of emotions and techniques. And yet it was not only his own art that shone. As a teacher, he shaped the elite of his time, including Jacob de Gheyn II and Jan Saenredam. They all carried on his influence and shaped the art world for generations. An art print by Goltzius is not only a representation of his talent, but also a testament to the depth and diversity of art history that is continually brought to life in our collection.