Dutch painter. He came from a family of Catholic government officials. In 1619 he became a pupil of the portraitGLOSSARYThe Roman portrait bust survived in the form of life-sized reliquaries of saints, but it was in 15th century Florence that the individual features and character of a contemporary sitter were accurately recorded by sculptors such as Donatello, Desiderio da Settignano, Mino da Fiesole and the Rossellino. A similar degree of realism occurs in 15th century tomb sculpture. The equestrian portrait, based on antique statues such as the Marcus Aurelius monument (Rome, Campidoglio), was revived in the 14th century. Two examples in fresco are Simone Martini's Guidoriccio (c. 1328; Siena, Palazzo Pubblico) and the posthumous portrait of Sir John Hawkwood (1436; Florence, Cathedral) by Uccello, which gives the illusion of a 3-dimensional statue seen from below. The Venetian Republic ordered imposing monuments from Donatello (1447; Gattarnelata, Padua) and Verrocchio (14799; Colleoni, Venice), whilst other statesmen ordered their own images to be erected in public places, directly relating themselves to the military heroes of ancient Rome. Another form of political portraiture derived from antiquity was the commemorative portrait medal designed by artists such as Pisanello. The carved or painted profile portrait became popular in the 1450s. The realism of the clear, flattened image, painted under the influence of Flemish examples by the Pollaiuolo brothers, Piero della Francesca and Botticelli, was superseded by the three-quarter and frontal portrait, psychologically more complex, such as Leonardo's enigmatic Mona Lisa (Paris, Louvre) with her momentary smile or Andrea del Sarto's arresting Portrait of a Man (London, National Gallery). The 16th century portrait became generalized, Lotto's Andrea Odoni (1527; Royal Collection) being an idealized concept of a collector rather than an individual. Group portraits, decorating whole rooms, include the narrative scenes of the Gonzaga court painted by Mantegna (completed 1474; Mantua, Palazzo Ducale) and the elaborate schemes commissioned by the Farnese family in Rome from Vasari (1546; Palazzo della Cancelleria) and Salviati (after 1553; Palazzo Farnese). Portraits were also incorporated into religious narratives, as in Ghirlandaio's fresco cycle painted for Giovanni Tornabuoni in S. Maria Novella, Florence (1486-90). painter Anthonie van Ravesteyn (1580-1669), brother of Jan van Ravesteyn. Hanneman's only known early work is a Portrait of a Woman (1625; private collection), which is entirely in the style of the van Ravesteyn brothers. Around 1626 he settled in London, where he married Elizabeth Wilson in 1630. It is possible that Hanneman worked for some time as an assistant in the workshop of Anthony van Dyck, who settled in England in 1632. The few signed pieces that have been preserved from Hanneman's years in London, and his later paintings, show the strong influence of van Dyck's style of portraiture.
Hanneman stayed in London until about 1638. He joined the painters' guildGLOSSARYAn association of the masters of a particular craft, trade or profession (painters, goldsmiths, surgeons, and so on) set up to protect its members' rights and interests. Such guilds existed in virtually every European city in the 16th century. The guild also monitored standards of work, acted as a court for those who brought their trade into disrepute, and provided assistance to members in need. of The Hague in 1640. His wife died before he moved back to the Netherlands, and he married in 1640 Jan van Ravesteyn's daughter Maria. His second wife died some time before 1654, and he married Alida Besemer in 1669.
Hanneman was instrumental in the founding of the painters' confraternity Pictura in 1656, and was elected its first dean. He was one of the organization's principal officers throughout the 1660s.
