Jan Rombouts I

Jan Rombouts the Elder, Jan Rombouts (I) ( 1480 in Leuven – 1535 in Leuven), was a Flemish Renaissance painter, glass painter, draftsman, printmaker and glass designer. The subjects of his work are stories from the Old and New Testament and the lives of Christian saints. He was active in Leuven where he introduced the Renaissance innovations of Bernard van Orley and the Antwerp school. Life The details of the life of Jan Rombouts are sketchy. He signed his work with a monogram which had been read by the 19th century city archivist of Leuven Edward van Even as representing the letters IVR. As a result, he identified the painter using this monogram with the Leuven city painter Jan van Rillaer. When it was discovered that Jan van Rillaer was only born around 1520-1525 it became clear that he could not be identified with the monogrammist since the latter had already produced work in the period 1520–1525. It was subsequently understood that Edward van Even had misread the monogram, which should actually be read as IANR. Archival records also showed that van Rillaer was in fact never documented as a painter. Based on this and other evidence it became possible to identify the monogrammist IANR with Jan Rombouts the Elder who was referred to in contemporary records as a painter.

The earliest known archival document about Jan Rombouts dates from 1508 and refers to him as 'Johannes Rombouts pictor'. Jan Rombouts the Elder was the grand nephew of the glass painter Claes Rombouts. He was mainly active in his hometown Leuven. He worked on commissions for religious institutions such as the two altarpieces for the St. Peter's Church in Leuven as well as for private patrons.

Rombouts married Barbele Roelants, with whom he had two children. He thus introduced the innovations of Bernard van Orley and the Antwerp school in Leuven. Bernard van Orley is known for introducing into Flemish painting Italianizing elements derived from Italian Renaissance painting, and in particular Raphael. At the same time Rombouts did not stray too far from the traditions of Early Netherlandisch painting as exemplified in the work of his famous fellow townsman Dieric Bouts.

His engravings reflect the influence of his contemporaries Albrecht Dürer and Lucas van Leyden. His early prints lack technical and aesthetical finesse. His later works such as the Virgin and Child and Pyramus and Thisbe show he had mastered the art of the print medium.

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