Hubertus Quellinus
From Wikipedia, the free encyclopedia
Hubertus Quellinus or Hubert Quellinus (15 August 1619, Antwerp – 1687) was a Flemish printmaker, drawing artist and painter and a member of the prominent Quellinus family of artists. His engravings after the work of his brother, the Baroque sculptor Artus Quellinus the Elder, were instrumental in the spread of the Flemish Baroque idiom in Europe in the second half of the 17th century.
Hubertus Quellinus was born in Antwerp on 15 August 1619 as the son of Erasmus Quellinus the Elder and Elisabeth van Uden. His family was a family of sculptors and painters which included, amongst others, his father and his brothers, the Rubens pupil Erasmus Quellinus the Younger and the prominent sculptor Artus Quellinus the Elder.[1] Hubertus' mother was the sister of the prominent landscape painter Lucas van Uden.[2]
In 1650 he traveled to Rome where he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Hubertus was given the bent name Saracin. He witnessed that he was present when the lifeless body of Pietro Testa was the retrieved from the Tiber in 1650.[1]
He was recorded in Amsterdam in 1655. Between 18 September 1665 and 18 September 1666 he registered at the Guild of St. Luke in Antwerp as a wijnmeester’ [son of a master] in the specialty of engraver.[3] Quellinus was in Amsterdam by 1660 where he collaborated on a publication on the new City Hall of Amsterdam.[4]
Om 9 August 1666 he sold in Amsterdam 113 copper plates, including their 15-year patent, regarding Amsterdam City Hall to Frederik de Wit. He returned to Antwerp where he was buried on 2 March 1688. His death duties were met between 18 September 1687 and 18 September 1688.[1]
