海格力.斯格斯Hercules Seghers

海格力.斯格斯Hercules Seghers（1589年——1638年），荷兰画家。

中文名海格力.斯格斯
外文名Hercules Seghers
性别男
国籍荷兰
出生地哈莱姆
出生日期1589年
逝世日期1638年
职业画家、版画家

生活

赫拉克勒斯出生在哈莱姆，作为一个儿子门诺布商人，最初是从佛兰德斯，谁搬到阿姆斯特丹于1596年有大力神被送去当天的领先佛兰德风景画家吉利斯面包车Coninxloo，但他的学徒大概是缩短由Coninxloo在1606西格斯死亡和他的父亲买了一批他的作品在工作室内容的拍卖，如彼得·斯特曼一样。西格斯的父亲于1612年去世，之后他回到哈勒姆，加盟圣卢克哈勒姆公会。

他回到了阿姆斯特丹于1614年获得一个私生女的抚养权，并于次年结婚Anneke范德Brugghen从安特卫普，谁是十六岁以上比他。1620年，他买了一所大房子乔丹在Lindengracht约4000荷兰盾，而是由17世纪20年代末，他欠了债，并在1631年不得不卖掉它。从他的房子，这是在1912年推倒顶部的工作室，他在最近完成的景色北教堂这是对他的铜版画之一。

在同一年，他搬到乌得勒支，并开始出售门艺术。1633年他移居到海牙。他似乎已经由1638去世，当时一个内尔雅维特被提及作为一个寡妇“大力神Pieterz。” 像很多Segher的生活的详细文档，这个链接要看他的名字的假设罕见的。后来的一些人士表示，塞赫尔斯走上对他生命的尽头酒后坠落下楼后死亡。^[5]

他死后的名声受到提振Inleyding TOT德的Hooge schoole德schilderkonst（介绍绘画的高中）的塞缪尔·凡霍赫斯特拉滕它送给他，而不是作为一个浪漫的天才前卫拉的Lettre，孤独，贫穷和误解，主要是基于他的铜版画。

打印

他主要以他高度创新的铜版画，大多是风景，这往往印在彩色纸张或布，并用彩色墨水和手工着色，往往手裁剪成不同的尺寸。他还利用了铜版画和形式飞尘以及其他影响，如通过新闻与打印运行粗布，为斑驳的效果。

总共只有183众所周知的印象来自他的所有54片生存，现在大部分是在博物馆; 在国家博物馆打印室拥有轻松的最佳集合。伦勃朗收集两种绘画（他有八个）和版画西格斯，并获得了他原来的板，一托比亚斯和天使（HB 1），他修改成自己的飞行进入埃及（B 56），保持大部分的景观。伦勃朗还修改了西格斯画山地景观，现在在乌菲齐，他的景观风格显示了从西格斯一定的影响。

虽然他的版画的关系尚不清楚，他有四个塔镇（HB 29）从大约1631年认为既要稍后打印之一，与绘画相比，迄今为止鉴于少数幸存的印象，它是不可能的，印刷物收入为他的一个主要来源。他的书桩（见国家博物馆链接）是一个17世纪的打印一个不寻常的静物主题。

他似乎已经发明了“糖咬” 飞尘技术，它是在英国后来被重新发现了一个多世纪亚历山大·科泽斯（它也被称为升降地蚀刻）。

绘画

他可能是最知名的，以他的同时代人对他的风景画和静物主题的绘画作品; 他的作品也属罕见，也许只有十五幸存（一个在一场大火烧毁2007年10月）。在省长，弗雷德里克·亨德里克在1632年买下的风景他的许多画山水的是太棒了山区组成，而在他的版画往往是技术方法，而不是这是极端的主题。

他画山水倾向于示宽水平视图，重点在地球上，而不是天空; 两人在油画馆，柏林有天空条在顶部世纪以后添加，以满足变了味。除了Coninxloo，西格斯从佛兰芒景观的传统，也许特别提请乔斯德Momper和Roelandt萨弗里，也山水画的“风格主义的梦幻般的和富有远见的方面。” 1680年库存海洋画家集合的扬·德卡佩勒，谁西格斯拥有五画，描述了一个作为视图布鲁塞尔，这要是正确的大概意思是西格斯前往那里，可能年轻的时候，当他的风格展示最佛兰芒语的影响（在只要他的工作年表清除）。

English Introduction

Life

Hercules was born in Haarlem, as the son of a Mennonite cloth merchant, originally from Flanders, who moved to Amsterdam in 1596. There Hercules was apprenticed to the leading Flemish landscapist of the day Gillis van Coninxloo, but his apprenticeship was presumably cut short by Coninxloo's death in 1606. Seghers and his father bought a number of his works at the auction of the studio contents, as Pieter Lastman did. Seghers' father died in 1612, after which he returned to Haarlem, joining theHaarlem Guild of St. Luke.

He returned to Amsterdam in 1614 to obtain custody of an illegitimate daughter, and the following year married Anneke van der Brugghen from Antwerp, who was sixteen years older than he was. In 1620 he bought a large house in the Jordaan on the Lindengracht for about 4,000 guilders, but by the late 1620s he was in debt, and in 1631 had to sell it. From his studio at the top of the house, which was pulled down in 1912, he had a view on the recently finished Noorderkerk which is on one of his etchings.^[4]

In the same year he moved to Utrecht and started to sell art. In 1633 he moved to the Hague. He appears to have died by 1638, when a Cornelia de Witte is mentioned as widow of a "Hercules Pieterz.". Like much of the detailed documentation of Segher's life, this link depends on the assumed rarity of his first name. Some later sources said that Segers took to drink towards the end of his life and died after falling down the stairs.^[5]

His posthumous reputation was boosted by the Inleyding tot de hooge schoole der schilderkonst(Introduction to the High School of Painting) of Samuel van Hoogstraten which presented him rather as a Romantic genius avant la lettre, lonely, poor and misunderstood, based mostly on his etchings.

Prints

He is mainly known for his highly innovative etchings, mostly of landscapes, which were often printed on coloured paper or cloth, and with coloured ink, and hand-coloured and often hand-cropped to different sizes. He also made use of drypoint and a form of aquatint as well as other effects, such as running coarse cloth through the press with the print, for a mottled effect.

Altogether only 183 known impressions survive from all his fifty-four plates and most are now in museums; the Rijksmuseum print room has easily the best collection. Rembrandt collected both paintings (he had eight) and prints by Seghers, and acquired one of his original plates,Tobias and the Angel (HB 1),^[6] which he reworked into his own Flight into Egypt (B 56), keeping much of the landscape. Rembrandt also reworked the Seghers painting Mountain Landscape, now in the Uffizi, and his landscape style shows some influence from Seghers.

Although the dating of his prints remains unclear, his Town with four towers (HB 29) is believed both to be one of the later prints and, by comparison with paintings, to date from around 1631. Given the small number of surviving impressions, it is unlikely that prints were a major source of income for him. His Pile of books (see Rijksmuseum link) is an unusual still-life subject for a 17th-century print.

He seems to have invented the "sugar-bite" aquatint technique, which was rediscovered in England over a century later by Alexander Cozens (it is also called lift-ground etching).

Paintings

He was probably best known to his contemporaries for his paintings of landscapes and still-life subjects; his paintings are also rare, with perhaps only fifteen surviving (one was destroyed in a fire in October 2007 ^[8]). The Stadholder, Frederick Henry, Prince of Orangebought landscapes in 1632. Many of his painted landscapes are fantastic mountainous compositions, whereas in his prints it is often the technical approach rather than the subject which is extreme.

His painted landscapes tend to show a wide horizontal view, with emphasis on earth rather than sky; two in the Gemäldegalerie, Berlin had strips of sky added at the top later in the century to meet a changed taste. Apart from Coninxloo, Seghers drew from the Flemish landscape tradition, perhaps especially Joos de Momper and Roelandt Savery, but also the "fantastic and visionary aspects of Mannerist" landscape painting.^[9] The 1680 inventory of the collection of the marine painter Jan van de Cappelle, who owned five paintings by Seghers, describes one as a view of Brussels, which if correct would presumably mean Seghers travelled there, probably when young, when his style shows most Flemish influence (in so far as the chronology of his work is clear).^[1]