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Baroque and Rococo
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Baroque and Rococo
Art Map |
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Paul
de Vos
Jan Fyt
Abraham
Brueghel
see collections:
Adriaen Brouwer
Frans Snyders
Jan Brueghel the Elder
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Flemish Painting in the 17th Century
The name of Peter Paul Rubens
dominates Flemish painting of the 17th
century. Having trained in Antwerp, and learned much from studying
other artists' works during his time in Italy (1600-08),
Rubens
proved himself a master of all genres of painting, including
religious, mythological, and allegorical works, portraits, and
landscapes. He drew designs for sculptures and tapestries, including
The History of Decius Mus, (I616-I8), for the Genoese
nobleman Nicolo Pallavicini, and was also interested in
architecture, as well as stimulating and coordinating the
activities of a wide circle of fellow artists. Many worked alongside
him in his studio, collaborating with him on ambitious works
commissioned by local and foreign patrons, such as those for the
ceiling of the Jesuit church of St Ignatius in Antwerp (1620-25).
Rubens was a rich, cultured artist, with patrician and royal patrons
all over Europe. He painted the allegorical cycle of the life of
Marie de Medicis for the gallery in the Palais du Luxembourg
(1621-35, now in the Musee du Louvre); the painted ceiling in the
banqueting hall in the Palace of Whitehall London (1629-34); and a
series of paintings inspired by Ovid's Metamorphoses for the Torre
della Parada, a royal hunting lodge near Madrid (1636-38).
As a young man Anthony van Dyck worked with
Rubens. After his first
visit to London in 1620 to the court of King James I,
van Dyck went
to Italy (1621-27). staying in Genoa for a considerable time and
visiting Venice, Rome, and Palermo. He returned to England in 1632,
after which he concentrated mainly on portrait painting, remaining
there as court painter to King Charles I for the rest of his life,
with the exception of a visit to his homeland in 1634. The work that
he produced
influenced other artists well into the 18th century. In contrast to
van Dyck,
Jacob Jordaens (1593-1678) achieved fame throughout Europe
without leaving his native Antwerp. Many Flemish artists specialized
in the production of cabinet pictures for private collectors, and
during the early part of the century in Antwerp this specialization
was the virtual monopoly of the Francken family. Their paintings are
characterized by a minute attention to detail and a skilful handling
of paint, enlivened by elegant Mannerist touches. Genre scenes were
given new vigour in the work of Adriaen
Brouwer (c. 1605-38), who
was a pupil of Frans Hals in Haarlem, while
Frans Snyders
(1579—1657) was an outstanding painter who specialized in the
portrayal of animals and in landscapes. Both he and his
brother-in-law Paul de Vos (c. 1596-1678) worked with
Rubens.
Another prolific artist based in Antwerp was Jan Fyt (1611-61), who
brought new refinements to the handling of paint. Abraham Brueghel
(1631-97), the last of the famous dynasty of Flemish painters, moved
to Italy in 1659 where he settled first in Rome and then in Naples.
During his time in Italy, he produced flower paintings with a
notable ease of execution and of an attractive composition and use
of colour.
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Peter Paul Rubens, design for printers' mark for the Plantin Press, 1627-28.
Plantin-Moretus Museum, Antwerp |
THE COURT AT BRUSSELS
From 1S98 to 1633, Archduke Albert and his wife Isabella, the
daughter of Philip II of Spain, ruled the Spanish Netherlands from
Brussels. The city slowly recovered after the disasters of the
sacking of Antwerp and the Protestant iconoclasm, and Flemish life
and culture flourished — social improvements began in the city, the
University of Louvain was developed, and painters at court included
Otto van Veen (one of Rubens' teachers),
Rubens himself,
Jan Brueghel the Elder (1569-1625) and
Anthony van Dyck. While at court,
Rubens painted portraits of both the Archduke and Archduchess, with
background landscapes by
Brueghel; from 1625 to 1628 he also
designed the Eucharist series of Brussels tapestries (some of the
sketches for which are in the Fitzwilliam Museum, Cambridge), the
printer's device for Christopher Plantin, and a frontispiece for
Justus Lipsius' Opera Omnia.
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Paul
de Vos
(b Hulst, 1591–2 or 9 Dec 1595; d Antwerp, 30 June
1678).
Painter and draughtsman, brother of Cornelis de Vos. Paul
is perhaps best described as a gifted follower of his brother-in-law
Snyders rather than as a truly original artist. Like Snyders, he
specialized in still-lifes, animal and hunting scenes, generally on
a large scale, and his works were in demand in the same aristocratic
circles.
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Paul de Vos
Still-Life
Oil on canvas
Huntarian Art Gallery, University of Glasgow, Glasgow
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Paul de Vos
Caceria de Corzos
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Paul de Vos
Caceria de Osos
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Paul de Vos
Ciervo acosado por la jauria
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Paul de Vos
Pelea de gatos en una despensa
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Jan Fyt(b Antwerp, bapt 15 June 1611; d Antwerp, 11
Sept 1661).
Flemish painter, draughtsman and etcher. He was apprenticed in Antwerp in 1621–2 to Hans van den Berch [Berghe]
(not to be confused with Jan van den Bergh of Alkmaar) and probably
completed his training with Frans Snyders. In 1629–30 Fyt became a
master in the Antwerp Guild of St Luke, but he continued to work for
Snyders until 1631. In 1633 and 1634 he was in Paris. According to
his biographers, he then went to Italy; an Italian journey is
confirmed by the fact that in 1650 he joined the Antwerp Guild of
Romanists (exclusive to those who had visited Rome), of which he
became the dean in 1652. He apparently worked in Rome, where he
joined the Schildersbent and was given the nickname ‘Goudvink’ (Dut.:
‘goldfinch’). In Venice, according to Orlandi, Fyt worked for the
Sagredo and Contarini families. He is also thought to have visited
Naples, Florence and Genoa, and Orlandi stated that he also went to
Spain and London. By 5 September 1641 Fyt was back in Antwerp,
where, apart from a brief trip to the northern Netherlands in 1642,
he apparently remained for the rest of his career. However,
Jan-Erasmus Quellinus stated that he again travelled to Italy in the
1650s, a claim supported to some extent by the mention in 1671 of a
Self-portrait (untraced) supposedly painted some 20 years
earlier in Venice
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Jan Fyt
Big Dog, Dwarf and Boy 1652 Oil on canvas, 138 x 203,5 cm Gemäldegalerie, Dresden
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Jan Fyt
Bird Concert
Oil on canvas, 135 x 186 cm
Rockox House, Antwerp
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Jan Fyt
Diana with Her Hunting Dogs beside Kill
Oil on canvas, 79 x 116 cm
Staatliche Museen, Berlin
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Jan Fyt
Still-life with Dog
Oil on panel, 77 x 112 cm
Museo del Prado, Madrid
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Jan Fyt
Vase of Flowers
Oil on panel, 82 x 71 cm
Rockox House, Antwerp
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Jan Fyt
Anades y gallinas de agua
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Jan Fyt
Rina de gallos
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Jan Fyt
Un milano
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Abraham
Brueghel (Antwerp
1631 - Naples 1690)
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Abraham Bruegel
Peinture
1669
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Abrahan Bruegel
Vase de Fleurs sur un Entablement
1670
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see collections:
Adriaen Brouwer
Frans Snyders
Jan Brueghel the Elder
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