Classical art, unlike modern avant-garde movements, has always won the hearts of viewers. One of the most vivid and rich impressions remains with anyone who has encountered the work of early Dutch artists.
Flemish painting is distinguished by realism, a riot of colors and the vastness of those that are realized in the plots.
In our article, we will not only talk about the specifics of this trend, but also get acquainted with the writing technique, as well as with the most notable representatives of the period.
Baroque painting
The history of painting fully reflects all the changes in the social and political life of mankind. So, cheerful and reckless antique frescoes are replaced by gloomy and dead plots of the Middle Ages.
Baroque ("bizarre, prone to excesses") reflects a departure from old and boring dogmas. It incorporated all the everyday moods and features of that time.
In the center of the plot, as in the whole Baroque style, is a person. But the character of the image becomes deeper, richer, more realistic. Also, completely new genres arise, such as still life, landscape, everyday scenes.
Let's see how exactly Flemish painting differs from other Western European styles.
Flemish or Dutch painting?
Those who are interested in European art, know such a thing as Flemish painting. If you look at the encyclopedia, we learn that the Flemings are residents of Flanders, which, in turn, is modern Belgium. But when it comes to artists of this period, we see that most of them are Dutch.
A logical question arises: what is the difference between Flemish and Dutch painting? In fact, everything is quite simple. At the end of the sixteenth century, namely in 1579, the northern provinces of the Netherlands freed themselves from the influence of the Spanish crown. Now Holland has formed on this territory.
It is noteworthy that culture in a young country begins to develop at an impressive pace. Her golden age did not last long, only a century. But the work of such artists as Peter Paul Rubens, Anton van Dyck, Jacob Jordaens and some other artists, became the heyday of national Dutch art. Later, in the eighteenth century, French culture began to exert a strong influence on the country. Therefore, there can be no talk of any identity.
Flemish artists of the seventeenth century still have some style features that distinguish them from Dutch masters from other parts of the country.
Firstly, they vividly perceive the realistic motives of Italians, which we will talk about later. Secondly, plots appear, in the center of which are not mythical or religious scenes, but everyday stories from the lives of ordinary citizens.
Thus, it turns out that Flemish painting is an early stage in the development of Dutch fine art. But the main feature of this era is the national Dutch motifs, unclouded by foreign influence.
Borrowing from the Italians a number of techniques, which will be discussed later, became only the basis for the formation of an original style, but not in any way dependent on their worldview.
The influence of Italian masters
As we will see later, Flemish and Dutch painting of the sixteenth century is heavily influenced by Italian artists. The turning point begins after Luke Leiden and Peter Brueghel the Elder. The latter, in particular, was called “peasant” by contemporaries for the plots of paintings and character images.
But after the small changes that occurred in the political map of the Netherlands, a whole new era begins. Flemish painting, which stood out in a separate flow, begins its proud procession to the golden age of Rubens.
Bologna school, mannerism, caravagism - these directions come from Italy to other European states. It is at this turning point that the final rejection of medieval standards takes place. Now in the painting mythological characters of antiquity, realistic scenes of Dutch life and still lifes with a hunt begin to dominate more and more.
The monumentality of forms, close attention to detail, vibrant and vibrant characters, everyday scenes, flavored with a pinch of humor - this is only part of the characteristics inherent in Flemish painting. She stands out especially against the background of general European fine art with her coloristic effects.
Dutch masters play with chiaroscuro technique, saturate paintings with bright colors and wide strokes. They take once the canonical themes and develop them in the everyday genre or even bring them to burlesque. Their characters live and breathe. We will get to know a number of masters further. You will see how expressive the plots on their canvases.
The history of painting knows many examples when political and social disasters in society influenced the creativity and work styles of the young generation of artists. Therefore, the influence of Italian masters became a fresh breath of air in the Netherlands, which had just freed itself from counter-reformation influence.
Painting technique
According to the researchers, the technique of Flemish painting was first developed by the van Eyck brothers. But art historians insist that many Italian masters used the same methods much earlier. Let's not go into the ups and downs of the championship, but let's talk about the technique itself.
The canvas was initially covered with white glue primer. He was treated very carefully, since his whiteness was the lightest shade in the future picture. In addition, the remaining paints were applied in very thin layers, which allowed the soil to create the effect of an inimitable glow from the inside.
Like many other painting techniques, the Flemish has a clear action algorithm. At first, “cardboard” was created - a template for the future picture. It was a rough sketch, it was pierced with a needle along the length of all the outlines of the image. After that, with the help of coal powder, the workpiece was carefully transferred to a primed sheet.
After transferring the sketch and drawing its borders, the future picture was obscured by oil or tempera. The thinnest layer of a light brown coating was supposed to preserve the inner glow of the pattern.
Then came the stage of work "dead colors" (cold and faded tones that do not cause any interest). And the creation of a masterpiece was completed by the process of applying bright and rich colors that still impress ordinary tourists and academic art lovers.
Masters of Caravagism
In the 16th and 17th centuries, the Flemish school of painting was influenced by the special style of European art. Caravaggism is the heritage of the Italian master Michelangelo de Caravaggio. He lived in Rome and was one of the largest baroque masters in Europe. Modern scholars consider this artist the founder of realism in painting.
He worked in the chiaroscuro technique (light-shadow), in which there is a contrast between the dark areas of the picture and the light. It is noteworthy that not a single sketch of Caravaggio was found. He worked immediately on the final version of the work.
17th century painting in Italy, Spain and the Netherlands took the new trends as a breath of fresh air. The Italians de Fiori and Gentileschi, the Spaniard of Ribera, the Dutch artists Terbruggen and Barburen worked in a similar technique.
Also, caravagism had a strong influence on the stages of creativity of such masters as Peter Paul Rubens, Diego Velazquez, Georges de Latour and Rembrandt.
The voluminous canvases of the Karavagists amaze with their depth and attention to detail. Let's talk more about Dutch painters who worked with this technique.
The very first ideas were adopted by Hendrik Terbruggen. At the beginning of the XVII century he visited Rome, where he met Manfredi, Saraceni and Gentileschi. It was the Dutchman who laid the foundation for the Utrecht school of painting with this technique.
Plots of paintings are realistic, they are characterized by soft humor of the depicted scenes. Terbruggen showed not only individual moments of his modern life, but also rethought traditional naturalism.
Honthorst went further in the development of the school. He turned to biblical stories, but the plot was built from the everyday point of view of the Dutch of the XVII century. So, in his paintings we see a clear influence of the chiaroscuro technique. It was the work under the influence of the Karavajists that brought him fame in Italy. For his genre scenes by candlelight, he received the nickname "night".
Unlike the Utrecht school, Flemish painters like Rubens and van Dyck did not become ardent supporters of caravagism. This style is indicated in their works only as a separate stage in the formation of personal style.
Adrian Browver and David Teniers
For several centuries, the painting of the Flemish masters undergoes significant changes. We will begin our review of artists from later stages, when there was a departure from monumental paintings to narrowly targeted subjects.
At first, Browver, and then Teniers the Younger, put scenes from the everyday life of ordinary Dutch people at the heart of creativity. So, Adrian, continuing the motives of Peter Bruegel, somewhat changes the writing technique and focus of his paintings.
He focuses on the most unsightly side of life. He seeks traits for canvases in smoke-filled darkened taverns and taverns. Nevertheless, Browver's paintings are striking in their expression and depth of character. The artist hides the main characters in the depths, highlighting still lifes.
A fight over a dice game or cards, a sleeping smoker or dancing drunkards. It was these stories that interested the painter.
But later works by Brower become soft, in them humor already prevails over the grotesque and rampant. Now the paintings contain philosophical moods and reflect the pace of pensive characters.
Researchers say that in the 17th century, Flemish artists begin to fade in comparison with the previous generation of craftsmen. However, we simply see a transition from the vivid expression of the mythical plots of Rubens and the burlesque of Jordaens to the quiet life of the peasants at Teniers the Younger.
The latter, in particular, concentrated on the carefree moments of the village holidays. He tried to portray the weddings and festivities of ordinary farmers. Moreover, special attention was paid to external details and the idealization of lifestyle.
France sneijders
Like Anton van Dyck, which we will talk about later, Frans Sneijders began training with Hendrick van Balen. In addition, Peter Brueghel the Younger was also his mentor.
Examining the works of this master, we get acquainted with another facet of creativity, which is so rich in Flemish painting. Sneijder's paintings are completely unlike the paintings of his contemporaries. France managed to find his niche and develop in it to the heights of an unsurpassed master.
He became the best in the image of still lifes and animals. As an animal painter, he was often invited by other painters, in particular Rubens, to create certain parts of his masterpieces.
In the work of Snyders, there is a gradual transition from still lifes in the early years to hunting scenes in later periods. Despite all the dislike for portraits and portrayals of people, they are still present on his canvases. How did he get out of the situation?
It's simple, France invited to create images of hunters Jansens, Jordaens and other acquaintances from the guild of masters.
Thus, we see that 17th-century painting in Flanders reflects the heterogeneous phase of the transition from previous techniques and views. It did not happen as smoothly as in Italy, but gave the world completely unusual creations of Flemish masters.
Jacob Jordaens
Flemish painting of the 17th century is characterized by greater freedom compared to the previous period. Here you can see not only live scenes from life, but also the beginnings of humor. In particular, Jacob Jordaens often allowed himself to bring a piece of burlesque into his canvases.
In his work, he did not reach significant heights as a portrait painter, but nevertheless, he became almost the best in conveying the character in the picture. So, one of its main series - “The Feast of the Bean King” - is built on the illustration of folklore, folk tales, jokes and sayings. These canvases depict the crowded, cheerful, bustling life of Dutch society of the 17th century.
Speaking about the Dutch art of painting of this period, we will often mention the name of Peter Paul Rubens. It was his influence that was reflected in the works of most Flemish artists.
Jordaens also did not escape this fate. He worked for some time in the workshops of Rubens, creating sketches for paintings. However, it was better for Jacob to create tenebrism and chiaroscuro in the technique.
If you look closely at the masterpieces of Jordaens, compare them with the works of Peter Paul, we will see a clear influence of the latter. But the paintings of Jacob are distinguished by warmer colors, freedom and softness.
Peter Rubens
Discussing the masterpieces of Flemish painting, one cannot but mention Rubens. Peter Paul was a recognized master during his lifetime. He is considered a virtuoso of religious and mythical themes, but the artist showed no less talent in the technique of landscape and portrait.
He grew up in a family that fell into disgrace due to tricks of his father in his youth. Soon after the death of the parent, their reputation is restored, and Rubens and his mother return to Antwerp.
Here, a young man quickly acquires the necessary connections, he is made a page of Countess de Lalen. Additionally, Peter Paul meets Tobias, Verhacht, van Noort. But Otto van Veen had a special influence on him as a mentor. It was this artist who played a decisive role in shaping the style of the future master.
Otto was fond of ancient authors, mythology, illustrated the works of Horace, and was also an expert and connoisseur of the Italian Renaissance. Van Veer conveyed these personality traits to a young artist.
After four years of internship with Otto Rubens, they are accepted into the workshop association of artists, engravers and sculptors under the name “Guild of St. Luke”. The end of the training, according to a long tradition of Dutch masters, was a trip to Italy. There, Peter Paul was engaged in the study and copying of the best masterpieces of this era.
Not surprisingly, the paintings of Flemish artists in their features resemble the techniques of some Italian Renaissance masters.
In Italy, Rubens lived and worked under the well-known philanthropist and collector Vincenzo Gonzaga. Researchers call this period of his work Mantua, because in this town was the estate of the patron Peter Peter.
But the provincial place and the desire of Gonzag to use it did not like Rubens. In the letter, he writes that Vicenzo could use the services of portrait painters with the same success. Two years later, the young man finds patrons and orders in Rome.
The main achievement of the Roman period was the painting of Santa Maria in Valicella and the altar of the monastery in Fermo.
After the death of his mother, Rubens returns to Antwerp, where he quickly becomes the highest paid master. The salary he received at the Brussels court allowed him to live in a big way, to have a large workshop, and many apprentices.
In addition, Peter Paul maintained relations with the Jesuit Order, which he brought up in childhood. From them he receives orders for the interior decoration of the Antwerp Church of St. Charles Borromei. Here he is helped by the best student - Anton van Dyck, which we will talk about later.
Rubens spent the second half of his life in diplomatic missions. Shortly before his death, he bought a manor, where a donkey, took up landscapes and depicting the life of peasants.
In the work of this great master, the influence of Titian and Brueghel is especially traced. The most famous works are the canvases “Samson and Delilah”, “Hippo Hunting”, “The Abduction of Leucippus' Daughters”.
Rubens had such a strong influence on Western European painting that in 1843 a monument was erected to him on the Green Square in Antwerp.
Anton van Dyck
A court portrait painter, a master of mythical and religious subjects in painting, a baroque artist - all these are the characteristics of Anton van Dyck, the best student of Peter Paul Rubens.
The painting techniques of this master were formed during the training with Hendrick van Balen, to whom he was sent as an apprentice. It was the years spent in the workshop of this painter that allowed Anton to quickly gain local fame.
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From 1621 the period of travel begins. First, the young artist works in London, under King Jacob, and then goes to Italy. In 1632, Anton returned to London, where Charles I knighted him and gave him the position of court painter. Here he worked until his death.
His paintings are exhibited in museums in Munich, Vienna, the Louvre, Washington, New York and many other halls of the world.
Thus, today we, dear readers, have learned about Flemish painting. You got an idea about the history of its formation and the technique of creating paintings. In addition, we briefly met with the greatest Dutch masters of this period.