See also:

• JANSSENS (or JANSENS) VAN NUYSSEN, ABRAHAM (1567–1632)
• JANSSENS (or JANSENS), VICTOR HONORIUS (1664–1739)

JANSSENS (or JANSENS) See also:

• VAN

VAN NUYSSEN, See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

ABRAHAM (1567–1632)  , Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp in 1567 . He studied under See also:

• JAN

Jan Snellinck, was a " See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master " in 1602, and in 1607 was See also:

• DEAN (Lat. decanus, derived from the Gr. 8eaa, ten)
• DEAN, FOREST OF

dean of the master-painters . Till the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens he was considered perhaps the best See also:

• HISTORICAL

historical painter of his 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 . The styles of the two artists are not unlike . In correctness of See also:

• DRAWING

drawing See also:

• JANSSENS (or JANSENS) VAN NUYSSEN, ABRAHAM (1567–1632)
• JANSSENS (or JANSENS), VICTOR HONORIUS (1664–1739)

Janssens excelled his See also:

• GREAT

great contemporary;in bold See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and in treatment of the nude he equalled him; but in See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general freedom of disposition and See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch he See also:

• FELL
• FELL, JOHN (1625-1686)

fell far See also:

• SHORT, FRANCIS JOB (1857– )

short . A master of See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro, he gratified his See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for strong contrasts of See also:

• LIGHT

light and shade in his torchlights and similar effects . See also:

• GOOD, JOHN MASON (1764-1827)

Good examples of this master are to be seen in the Antwerp museum and the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery . The stories of his See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy of Rubens and of his dissolute See also:

• LIFE

life are quite, unfounded . He died at Antwerp in 1632 .