Большой «Кухонный натюрморт» в музее герцога Антона Ульриха, Брауншвейг, подписанный «Petrus van Ryck in. et ftcit 1604», и рисунок, датированный 1605 годом (кат. № 123), подтверждают предположение Ван Мандера о том, что художник «сделал многое после работ Бассано» [6]. Ван Мандер также упоминает о портретах работы ван Рийка, но ни один из них, по-видимому, не сохранился.

Некоторое время спустя после 1 сентября 1605 года художник вернулся в Италию. Он попросил своего двоюродного брата - натюрмориста Флориса ван Дейка (1575-1651) - позаботиться о его детях и стать их опекуном, если он не вернется. В течение следующих двадцати семи лет о Ван Рийке ничего не известно. В 1632 и 1635 годах Ван Дейк действовал от имени своего кузена . Согласно документу 1635 года Ван Рийк все еще был в Италии [7]. 


I. This biography largely depends on Van Mander/ Miedema I994--99, vol. I, pp. 4-50-53 (fols. 298r-v), vol. 6, pp. 102-6, and B. W Meijer I999 (which concentrates mainly on Van Rijck and Venice). That Van Rijck "was taken away from art .. 'might be an indication that his parents did not want him to be an artist, as Hessel Miedema suggested (Van Mander/ Miedema 1994--99, vol. 6, p. 103). For the quotation, see vol. I, pp. 450-51 (fol. 298r.).

2. Van Mander/Miedema 1994--99, vol. 1, pp. 452-53 (fol. 298v). On Grimani, see chap. 2, p. 39.

3. In Venice, Van Rijck's activity was probably linked to some extent with that of his master, Huybrecht Jacobsz, as has been suggested recently by B. W Meijer. Giovanni Grimani (1506-1593), patriarch of Aquileia, might have been the patron of both Delft artists. The Flemish painter Uberto ("Uberto Fiandrese pittore"), who lived for a while as a friend and guest in the Grimani family palace at Santa Maria Formosa in Venice, is almost certainly to be identified witl1 Huybrecht Jacobsz. Grimani, one of the foremost art patrons in Venice, remembered Uberto handsomely in his testament with a legacy of 100 ducats. In the same testament paintings by Pietro Fiandra are mentioned next to those by Uberto di Fiandra. It seems not unlikely that this Pietro was Pieter Cornelisz van Rijck; see B. W Meijer 1999, pp. 138-39.

4. According to Meijer, Van Rijck is to be identified with the Flemish painter "Pietro Fiamrningo;' who assisted Giambattista Fiammeri in his decoration of Trinity Chapel in the Roman church II Gesu; B. W Meijer 1999, p. 138-39.

5· Gerszi 1971, no. 218. For more literature on this sheet, see B. W Meijer 1999, pp. 138-39, fig. 2, p. I4-9, n. 10.

6. Meaning Jacopo Bassano. Van Mander/Miedema 1994--99, vol. 1, pp. 452-53 (fol. 298v). 7. B. W Meijer 1999, p. 137. Yet Van Rijck seems to have been back in Holland (for several years?) in the late 16ros and then the early 1620s, as can be deduced from the signed and dated 1621 kitchen piece in the Frans Halsmuseum, Haarlem, which has hardly any Italianate elements and a much more Northern character than the others; B. W Meijer 1999, p. 149,