page_title: Hendrik Gijsmans
section_title: Work
hierarchical_section_title: Hendrik Gijsmans / Work
context_page_description: Hendrik Gijsmans or Egidius Gijsmans was a Flemish painter, draftsman, tapestry designer and mayor. After training in his native Mechelen, he moved to Antwerp where he probably worked in the workshop of Gillis Mostaert. As a Protestant he left Antwerp after the fall of the city to the Spanish in 1585. He settled in Frankenthal in 1586 where he joined a large group of other Flemish émigré artists. He later became the mayor of Frankenthal. The artist’s work has only recently been rediscovered after he was identified with an anonymous artist referred to as Anonymous Fabriczy of whom a collection of about 50 drawings are held in the Staatsgalerie Stuttgart.
context_section_description: Hendrik Gijsmans was a painter and draftsman of landscapes and a tapestry designer. None of his paintings have been preserved.  There are records in 1588 of the presence of three paintings (including two views of Antwerp) and in 1595 another three works (a view of the Castle Garden in Brussels and two sieges of Antwerp) in the Kunstkammer in Dresden where they are mentioned until 1603. A Viennese inventory dated after 1619 mentions another siege of Antwerp and three landscapes on parchment.
  Hendrik Gijsmans is now known only through his drawings.  The art historian Cornelius von Fabriczy published in 1893 for the first time fifty views of Flanders, France and Italy which were in the collection of the Staatsgalerie Stuttgart.  The works were ascribed to an anonymous artist who was given the notname Anonymous Fabriczy.  The unknown artist was identified with Hendrik Gijsmans by Stijn Alsteens (Hans Buijs, Véronique Mathot, Willem Schellinks, Paysages de France: dessinés par Lambert Doomer et les artistes hollandais et flamands des XVIe et XVIIe siècles, Fondation Custodia, 2008, pp. 221–226).  This was thanks to the discovery of a drawing representing Saint-Vallier in the Rhone Valley, which had been acquired by the Louvre Museum and was datable to 1567 or later.  This drawing carried the inscription Henrick Ghÿsm : F.  The drawing in the Louvre turned out to be a first version of one of the views preserved in the Staatsgalerie Stuttgart. This identification led to the attribution to Gijsmans of almost all the 50 drawings in the Staatsgalerie formerly ascribed to Anonymous Fabriczy. Part of the drawings of Stuttgart were likely part of a notebook some of the pages of which have become dispersed.
  The Flemish origins of the author of the drawings in Stuttgart are not only confirmed by the inclusion among the drawings of views of cities in the Southern Netherlands such as Antwerp, Dendermonde, Brussels and Huy, but also by a style similar to the refined graphics of Pieter Bruegel the Elder.  The works show Gijsmans to be one of Bruegel's principal followers.  His drawings show the artist's considerable talent for representing nature as well as architecture.
  Some of the Italian views, made in Rome and Milan, can be dated between 1565 and 1568. It is therefore likely that the views of France date from shortly before or shortly after these years and were made during Gijsmans' outward journey to, or his return from, Italy.
caption: View of the St. Peter's Basilica in Rome under construction
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