Philip de Koninck, or Philips Koninck 5 November 1619 – 4 October 1688 was a Dutch landscape painter and younger brother of Jacob Koninck.
De Koninck was the son of the jeweler Aert Coninx. He was married twice; in 1641 with Cornelia, a sister of Abraham Furnerius, living in Rotterdam, and in 1657 with Margaretha van Rhijn from Amsterdam. Philip studied painting under his brother Jacob in Rotterdam. After his second marriage he moved to Amsterdam. According to the Dutch writer on art Arnold Houbraken, Koninck completed his training in Rembrandt’s studio in Amsterdam.
In the late 1640s, De Koninck, began to paint panoramas, his canvases divided in half, horizontally, between equal measures of earth and sky. Koninck was evidently much affected by Rembrandt etchings like 'The Goldweigher's Field', which looked across a broad sweep of country layered with bands of shade and light. Also the style of Hercules Segers is to be detected in his work.
Impressionable and single-minded, Philips Koninck began to paint like this for the next decade, almost all his panoramas pieced together as if narrow ribbons of darkness and brightness had been laid across the canvas.
De Koninck was the son of the jeweler Aert Coninx. He was married twice; in 1641 with Cornelia, a sister of Abraham Furnerius, living in Rotterdam, and in 1657 with Margaretha van Rhijn from Amsterdam. Philip studied painting under his brother Jacob in Rotterdam. After his second marriage he moved to Amsterdam. According to the Dutch writer on art Arnold Houbraken, Koninck completed his training in Rembrandt’s studio in Amsterdam.
In the late 1640s, De Koninck, began to paint panoramas, his canvases divided in half, horizontally, between equal measures of earth and sky. Koninck was evidently much affected by Rembrandt etchings like 'The Goldweigher's Field', which looked across a broad sweep of country layered with bands of shade and light. Also the style of Hercules Segers is to be detected in his work.
Impressionable and single-minded, Philips Koninck began to paint like this for the next decade, almost all his panoramas pieced together as if narrow ribbons of darkness and brightness had been laid across the canvas.
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