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See also:DIEPENBECK, See also:ABRAHAM See also:VAN (1599-1675) , Flemish painter, was See also:born at Herzogenbusch, and studied See also:painting at See also:Antwerp, where he became one of See also:Rubens's " See also:hundred pupils." But he was not one of the cleverest of Rubens's followers, and he succeeded, at the best, in imitating the See also:style and aping the peculiarities of his See also:master. We see this in his earliest pictures—a portrait dated 1629 in the See also:Munich Pinakothek, and a " See also:Distribution of See also:Alms " of the same See also:period in the same collection. Yet even at this See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time there were moments when Diepenbeck probably fancied that he might take another path. A solitary copperplate executed with his own See also:hand in 163o represents a See also:peasant sitting under a See also:- TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
- TREE, SIR HERBERT BEERBOHM (1853- )
tree holding the bridle of an See also:ass, and this is a See also:minute and finished specimen of the engraver's See also:art which shows that the master might at one time have hoped to See also:rival the See also:animal See also:draughts-men who flourished in the See also:schools of See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland. However, large commissions now poured in upon him; he was asked for See also:altar-pieces, subject-pieces and See also:pagan allegories. He was tempted to try the profession of a See also:glass-painter, and at last he gave up every
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other occupation for the lucrative business of a draughtsman and designer for engravings. Most of Diepenbeck's important can-vases are in See also:continental galleries. The best are the" See also:Marriage of St See also:Catherine " at See also:Berlin and " See also:Mary with Angels Wailing over the Dead See also:Body of See also:Christ " in the See also:Belvedere at See also:Vienna, the first a very See also:fair specimen of the artist's skill, the second a picture of more See also:energy and feeling than might be expected from one who knew more of the See also:outer See also:form than of the spirit of Rubens. Then we have the See also:fine "Entombment" at See also:Brunswick, and "St See also:Francis Adoring the See also:Sacrament " at the museum at See also:Brussels, " Clelia and her See also:Nymphs Flying from the Presence and Pursuit of Porsenna " in two examples at Berlin and See also:Paris, and " See also:Neptune and See also:Amphitrite" at See also:Dresden. In all these compositions the See also:drawing and See also:execution are after the See also:fashion of Rubens, though inferior to Rubens in See also:harmony of See also:tone and force of contrasted See also:light and shade. Occasionally a tendency may be observed to imitate the style of Vandyck, for whom, in respect of pictures, Diepenbeck in his lifetime was frequently taken. But Diepenbeck spent much less of his leisure on canvases than on glass-painting. Though he failed to master the secrets of gorgeous tinting, which were lost, apparently for ever in the 16th See also:century, he was constantly employed during the best years of his See also:life in that See also:branch of his profession. In 1635 he finished See also:forty scenes from the life of St Francis of Paula in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of the Minimes at Antwerp. In 1644 he received See also:payment for four windows in St Jacques of Antwerp, two of which are still preserved, and represent Virgins to whom Christ appears after the Resurrection. The windows ascribed to him at St Gudule of Brussels were executed from the cartoons of See also:Theodore van Thulden. On the occasion of his matriculation at Antwerp in 1638–1639, Diepenbeck was registered in the guild of St See also:Luke as a glass-painter. He resigned his membership in the Artist See also:Club of the Violette in 1542, apparently because he See also:felt hurt by a valuation then made of drawings furnished for copperplates to the engraver Pieter de _lode. The earliest reccrd of his See also:residence at Antwerp is that of his See also:election to the brotherhood (Sodalitat) " of the Bachelors " in 1624. It is probable that before this time he had visited See also:Rome and See also:London, as noted in the See also:work of See also:Houbraken. In 1636 he was made a See also:burgess of Antwerp. He married twice, in 1637 and 1652. He died in See also:December '675, and was buried at St Jacques of Antwerp.
End of Article: DIEPENBECK, ABRAHAM VAN (1599-1675)
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