Paper

Student Artwork Guide

Saint Mark

Name Class Date

Cornelis Van Poelenburch, Saint Mark, National Trust. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Cornelis Van Poelenburch originaluniqueart.com/en/artists/cornelis-van-poelenburch/
Artist’s dates
1594 – 1667
Original size
14 x 11 cm
Held at
National Trust originaluniqueart.com/en/museums/national-trust-guildford/
Artistic style
Italianate landscapes with figures.
Influences
Abraham Bloemaert
Notable elements or techniques
Detailed facial features; Metal pen.
Subject or theme
Religious portraiture; Biblical scene.

In context

Saint Mark — Cornelis Van Poelenburch

How big is it?

The original measures 14 × 11 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1590
  2. 1600
  3. 1610
  4. 1620
  5. 1630
  6. 1640
  7. 1650
  8. 1660

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 73 at death.

Shaded: the lifetime of Cornelis Van Poelenburch (1594–1667) every dated painting, decade by decade

First works: up to 1624 Main working years: 1624–1645 Late works: from 1645

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/

Colours

Measured from the image

    Main colour

    Walnut #6b311e

    Catalogued palette

    • #6B311E
    • #D9986E
    • #A75B3E
    • #382316

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Cornelis Van Poelenburch over the last twelve months — 6 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 78.9%3,000 visits
    2. 2 Singapore 10.5%400 visits
    3. 3 Hong Kong 2.6%100 visits
    4. 4 Hungary 2.6%100 visits
    5. 5 Italy 2.6%100 visits
    6. 6 United States of America 2.6%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Cornelis Van Poelenburch

    1. 1 Portrait of a Young Girl 7.0%300 visits
    2. 2 Roman Ruins, 1620 4.7%200 visits
    3. 3 Landscape with Classical Figures, 1650 4.7%200 visits
    4. 4 Figures Dancing near Ruin, 1624 4.7%200 visits
    5. 5 View of the Campo Vaccino, 1620 4.7%200 visits
    6. 6 Cimon and Iphigenia, 1650 4.7%200 visits
    7. 7 Landscape with Diana and Callisto 4.7%200 visits
    8. 8 Landscape with a Satyr and Antiope ( ) 4.7%200 visits
    9. 9 LA LAPIDATION DE SAINT ETIENNE 4.7%200 visits
    10. 10 VUE DE FANTAISIE DU CAMPO VACCINO A ROME AVEC UN ANE 4.7%200 visits
    11. 11 PATRES ET BESTIAUX 4.7%200 visits
    12. 12 The Prophet Elijah and the Widow of Zarephath, 1630 2.3%100 visits
    13. 13 Nymphs and Satyrs at the Entrance of a Grotto, 1624 2.3%100 visits
    14. 14 Figures beneath the Arches of a Classical Ruin, 1620 2.3%100 visits
    15. 15 An Italianate Landscape with an Unidentified Subject from the Old Testament, Cornelis van Poelenburch, c. 1620 - c. 1627, 1627 2.3%100 visits
    16. 16 Amaryllis Giving Myrtill the Price, 1635 2.3%100 visits
    17. 17 Landscape with Nymphs, 1650 2.3%100 visits
    18. 18 The Angels Guiding the Shepherds to the Nativity, 1627 2.3%100 visits
    19. 19 Children of Frederick V Prince Elector of Pfalz and King of Bohemia, 1628 2.3%100 visits
    20. — Saint Mark this painting 0.0%0 visits

    Together these works take 72.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 83 works by this artist, of which 31 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Cornelis Van Poelenburch

    Born in Utrecht, Netherlands

    early life and training

    cornelis van poelenburgh, a prominent dutch landscape painter, was born in utrecht, netherlands in 1594. he initially trained with abraham bloemaert, a renowned artist of the time. this foundational training laid the groundwork for van poelenburch's future success.

    artistic career and influences

    van poelenburch's travels to rome in the early 17th century significantly influenced his work, making him a leading representative of the first generation of dutch landscape painters active in italy. his small-scale paintings, often featuring italianate landscapes with small figures enacting biblical or mythological scenes, showcased his unique style. notable works:

    satyrs spying on nymphs (after 1627), a characteristic example of van poelenburch's work, featuring archaic landscapes with figures bathing. (view on AllPaintingsStore)

    council of the gods (c. 1630), a painting showcasing van poelenburch's idealized hilly landscape and roman-inspired goddesses, now housed in the mauritshuis (the hague, netherlands). (view on AllPaintingsStore)

    legacy and later life

    van poelenburch's work was highly regarded by his contemporaries, including the grand duke of tuscany and the dutch stadholder. he later returned to utrecht, where he passed away in 1667, just a few years after his old teacher abraham bloemaert. key points:

    born in utrecht, netherlands in 1594

    trained with abraham bloemaert

    influenced by his time in rome

    known for small-scale italianate landscapes with figures

    died in utrecht in 1667 view cornelis van poelenburch's artworks on AllPaintingsStore learn more about cornelis van poelenburgh on wikipedia

    Museum

    National Trust

    On show in Guildford, United Kingdom

    A Tapestry of Time: Exploring The National Trust’s Guildford Legacy

    Nestled within the rolling Surrey Hills, a short drive from the vibrant city of London, lies a treasure trove of architectural grandeur and artistic resonance – The National Trust’s property in Guildford. More than just a collection of buildings, it's an immersive journey through centuries of British history, social evolution, and the enduring power of landscape design. From its humble beginnings as a conservationist’s dream to its current role as a vital cultural hub, the estate offers a uniquely layered experience, inviting visitors to step back in time and contemplate the stories woven into every stone and bloom.

    The heart of this remarkable collection is undoubtedly Hatchlands Park. Originally conceived as a grand country house for Sir John Henley in 1726, it evolved over generations, absorbing influences from Georgian elegance to Victorian romanticism. The core structure, built with meticulous attention to detail, showcases the wealth and taste of its successive owners – each leaving an indelible mark on the building’s character. However, Hatchlands' true allure lies not solely in its architecture but in the surrounding landscape, a carefully orchestrated symphony of formal gardens, sprawling parkland, and wilder woodland areas. The estate’s history is inextricably linked to the land itself, reflecting changing agricultural practices, social hierarchies, and evolving aesthetic sensibilities.

    The Cobbe Collection:

    A highlight within Hatchlands is the extraordinary Cobbe Collection of musical instruments – a testament to the refined cultural pursuits enjoyed by the Henley family. These exquisite examples of craftsmanship, spanning centuries and continents, offer a rare glimpse into the lives of those who shaped this estate.

    Architectural Echoes:

    Beyond Hatchlands, the National Trust’s Guildford holdings encompass a diverse range of properties, each with its own distinct narrative. From the medieval ruins of Box Hill Chapel to the imposing grandeur of Polesden Lacey, a former country house showcasing stunning art and design, there's an architectural feast for the eyes at every turn.

    Gardens as Living Art:

    The estate’s gardens are not merely decorative spaces; they are meticulously designed landscapes that reflect changing horticultural trends and artistic sensibilities. Winkworth Arboretum, with its breathtaking displays of autumn colour and bluebells, is a particularly poignant example of this evolution.

    A Chronicle of Conservation

    The National Trust’s origins lie in a growing concern about the rapid industrialization of Britain and the potential loss of its cultural heritage. Founded in 1895 by Octavia Hill, Robert Hunter, and Canon Hardwicke Rawnsley, the organization was born from a desire to safeguard “places of beauty or historic interest” for the benefit of future generations. This commitment to preservation has shaped the Trust’s ethos and guided its acquisitions over the past century. The early focus on acquiring open spaces and threatened buildings laid the foundation for a broader mission encompassing both tangible heritage and natural landscapes.

    The Trust's approach is remarkably nuanced, balancing the need for conservation with the desire to make these properties accessible to the public. Through educational programs, guided tours, and special events, the organization ensures that the stories embedded within these buildings and landscapes are not forgotten but continue to resonate with new audiences. The ongoing challenge lies in adapting to modern needs while remaining true to its founding principles – a delicate balancing act that underscores the Trust’s enduring relevance.

    Notable Exhibitions & Events

    While the National Trust's properties themselves serve as ongoing exhibitions, the organization regularly hosts a diverse range of events and temporary displays designed to engage visitors of all ages. These initiatives often explore specific themes related to the estate’s history or artistic collections, offering fresh perspectives on familiar landmarks. Recent exhibitions have focused on everything from the lives of the Henley family to the evolution of garden design, showcasing the breadth and depth of the Trust's holdings.

    Seasonal Displays:

    Throughout the year, the National Trust hosts a variety of seasonal events, including harvest festivals, Christmas markets, and summer concerts.

    Special Exhibitions:

    Temporary exhibitions often explore specific themes related to the estate’s history or artistic collections.

    Family Activities:

    The National Trust offers a wide range of family-friendly activities, including nature trails, craft workshops, and storytelling sessions.

    A Unique Blend of Heritage & Landscape

    What truly distinguishes The National Trust’s Guildford legacy is its seamless integration of architectural heritage, natural beauty, and cultural significance. It's a place where visitors can wander through centuries-old gardens, explore grand country houses, and connect with the stories of those who came before them. The estate’s commitment to conservation extends beyond bricks and mortar, encompassing a deep respect for the land and its ecological value. The National Trust’s Guildford properties represent more than just a collection of buildings; they are living testaments to England's rich history and enduring cultural landscape – a place where time seems to slow down and the spirit of generations past lingers in the air.

    Where to read more

    Find this online

    QR code linking to the download page for Saint Mark

    originaluniqueart.com/en/art/download/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/

    Cite this artwork

    MLA
    Poelenburch, Cornelis Van. Saint Mark. n.d., National Trust. https://originaluniqueart.com/en/art/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/
    APA
    Poelenburch, Cornelis Van (n.d.). Saint Mark [Painting]. National Trust. https://originaluniqueart.com/en/art/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/
    Chicago
    Cornelis Van Poelenburch. Saint Mark. n.d. National Trust. https://originaluniqueart.com/en/art/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/
    Harvard
    Poelenburch, Cornelis Van (n.d.) Saint Mark. National Trust. Available at: https://originaluniqueart.com/en/art/cornelis-van-poelenburch-saint-mark-AQSHDQ-en/

    Look closely

    Saint Mark — Cornelis Van Poelenburch

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: landscape, religious figure, writing. Do you agree? What would you add, or take away?
    4. Look back at Nymphs and Satyrs at the Entrance of a Grotto (1624), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Themes that come back through the work of Cornelis Van Poelenburch: roman landscape tradition, biblical narrative imagery, religious piety focus. Which of them do you see here?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Saint Mark — Cornelis Van Poelenburch

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of Cornelis van Poelenburgh’s painting, ‘Saint Mark’?

      • A A depiction of a biblical scene featuring Saint Peter.
      • B A portrait of Saint Mark engaged in scholarly pursuits.
      • C An expansive landscape showcasing mountainous terrain.
    2. 2. The painting utilizes what artistic style primarily influenced by the Italian Renaissance?

      • A Cubism
      • B Impressionism
      • C Italianate Landscape Style
    3. 3. What prominent feature is visible in Saint Mark’s robe, contributing to the painting's realism?

      • A A complex geometric pattern.
      • B A rich purple hue.
      • C An elaborate embroidered floral design.
    4. 4. According to the description, what is Saint Mark holding in his right hand?

      • A A musical instrument.
      • B A quill pen.
      • C A sculpted bust.
    5. 5. Based on the image description, what atmosphere does the painting convey?

      • A Energetic movement and vibrant colors.
      • B Quiet contemplation and focused concentration.
      • C Dramatic theatrical lighting.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2C · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Does "Saint Mark" show strong light-dark contrasts?

    The light-dark contrast of "Saint Mark" is recorded as gentle. Contrast describes how strongly light and dark areas differ.

    Why is the copyright status of "Saint Mark" what it is?

    The copyright status of "Saint Mark" - in the public domain - its copyright has expired - follows from the artist's death in 1667.

    What is a reproduction of "Saint Mark" by Cornelis Van Poelenburch recommended for?

    The suggested use for "Saint Mark" by Cornelis Van Poelenburch is accent. It can serve other purposes as well.