With Annibale Carracci and the German Adam Elsheimer (1578–1610), Bril may be considered one of the founders of Italianate landscape painting, which was later represented by numerous Dutch artists, such as Bartholomeus Breenbergh (as seen in his superb The Preaching of John the Baptist, of 1634 1991.305), Cornelis van Poelenburch (ca. From the 1590s onward, his style evolved from fanciful Mannerist inventions to a more naturalistic manner comparable with that of Jan Brueghel (who was also in Italy during the 1590s) in the same years, Bril devoted himself increasingly to small easel pictures for private collectors. Bril moved from Antwerp to Rome in his early twenties and painted large landscape frescoes in churches and palaces. For example, key figures for the representation of woodland landscapes, Gillis van Coninxloo (1544–1607) and Savery (1576–1639), spent their later years in the northern Netherlands.Īmong Flemish landscapists, two special cases must be mentioned, those of Paul Bril (1553/54–1626) and of Peter Paul Rubens (1577–1640). Some prominent Flemish landscapists were compelled by the suppression of Protestantism in the Spanish Netherlands or the economic consequences of the Eighty Years’ War to move to foreign cities such as Prague (where Roelandt Savery served Emperor Rudolf II), Frankfurt am Main (or nearby Frankenthal), Amsterdam, or Utrecht. Of course, these tendencies mixed together in the work of many painters, although a few (like De Keuninck) really worked almost exclusively in one vein. Like marine views, Dutch and Flemish landscape paintings were rarely symbolic but were usually rich in associations, ranging from God and all of nature (in this age of observation and exploration) to national, regional, or local pride, agriculture and commerce, leisure time (many Dutch landscapes suggest walks in the countryside, as a break from city life), and the sheer pleasure of physical sensation: fresh air, daylight, wind, moisture, cold and warmth, colors, textures-all of which was seen as God’s creation, and, however immediate, of fundamental or universal significance.įlemish landscapes of the 1600s may be broadly divided into two trends: a realistic type that descends from Bruegel’s drawings (and those by many contemporaries) to his son Jan Brueghel the Elder (as in A Woodland Road with Travelers, of 1607 1974.293) and his large circle of followers, including David Teniers the Younger and, by contrast, an imaginary type that favors foreign and especially mountainous topography, as seen in the Museum’s spectacular Mountainous Landscape with a Waterfall, of about 1600, by Kerstiaen de Keuninck ( 1983.452), and in paintings by Joos de Momper (1564–1635). Genre pictures were concerned with contemporary society and human nature, still life with domestic life and collectibles (including flowers), and seascapes with foreign travel, the sea itself, the grandeur of nature, and so on. Patrons from the mercantile and professional classes developed an interest in works of art that reflected their everyday lives and values. This was most remarkable in the province of Holland, where such important Dutch cities as Amsterdam, Haarlem, Leiden, The Hague, Rotterdam, and Dordrecht are located (the major exception is Utrecht, in the province of that name), and where as much as 70 percent of the population lived in cities and towns rather than on the land. Of the many factors that gave rise to secular subjects in art, such as landscape, seascape, still life, and genre painting, the most fundamental was the urbanization of European society during the 1500s and 1600s. The latter were more costly to produce (in time and materials), more expensive to purchase, and, as works displayed prominently in homes, represented a greater shift in taste than works on paper (which were stored and viewed only occasionally). In general, the most experimental ideas, which in the decades about 1600 included the most direct responses to actual topography and motifs, happened first in drawing, then in prints, and rather more slowly in paintings. 1524) ( 36.14a–c), influenced printmakers such as Hans Bol (1534–1593) who spread ideas for landscape subjects and compositions through woodcuts, engravings, and etchings. 1525–1569), such as The Harvesters ( 19.164), as well as the imaginary panoramas of Joachim Patinir (d. The pioneering landscape paintings of Pieter Bruegel the Elder (ca. In Flanders (the dominant province of the Spanish Netherlands), particularly in the great port city of Antwerp, landscape became a popular subject for painters and especially draftsmen and printmakers from the mid-1500s onward. During the 1600s, landscape painting flourished as an independent genre in the Dutch Republic (United Provinces of the Netherlands) and in the Spanish Netherlands (now Belgium).
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