In this article we will explore the impact of Pieter Jansz van Asch on modern society. Pieter Jansz van Asch has been a topic of interest and debate for years, and its influence can be observed in various areas of daily life. Since its emergence, Pieter Jansz van Asch has captured the attention of academics, experts, and laypeople alike, sparking discussions about its importance, implications, and possible consequences. Throughout this article, we will examine how Pieter Jansz van Asch has shaped the way we think, act and relate to the world around us, and what perspectives we can have on its future.
Pieter Jansz van Asch | |
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![]() Pieter Jansz van Asch. Self-portrait with one of his landscapes. | |
Born | Pieter Jansz van Asch 1603 |
Died | 1678 (aged 74–75) |
Nationality | Dutch |
Known for | Painting |
Movement | Baroque |
Pieter Jansz van Asch (1603 – 6 June 1678 (buried)) was a Dutch Golden Age painter.
He was born at Delft, the son of the portrait painter Jan van Asch and joined the Guild of St. Luke in 1623.[1] According to Arnold Houbraken, he specialized in small landscapes, but his productivity was hampered by caring for his parents.[2] Jan Verkolje knew him and made a mezzotint of him. The city of Delft paid him 100 guilders for a schoorsteenstuk or overmantel piece in the City Hall known as the Prinsenhof.[3]
His works are influenced by the painters Pieter de Bloot, Jan Both, Joachim Govertsz Camphuysen, Anthonie Jansz van der Croos, Jan Josefsz van Goyen, and Jan Gabrielsz Sonjé.[1] He in turn influenced the painter Jacobus Coert.[1] He died and was buried in his home town of Delft.[1]
van Asch has paintings in public collections including four in the United Kingdom.[4]