Flemish painting. Flemish painting technique. Flemish school of painting

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Classical art, unlike modern avant-garde trends, has always won the hearts of the audience. One of the most vivid and intense impressions remains with anyone who has come across the work of early Netherlandish artists.

Flemish painting is distinguished by realism, a riot of colors and the vastness of themes that are implemented in the plots.

In our article, we will not only talk about the specifics of this movement, 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 riotous antique frescoes are replaced by gloomy and dead scenes of the Middle Ages.

Baroque (“quirky, prone to excess”) reflects a departure from old and boring dogmas. It has absorbed everythingeveryday moods and features of that time. In the center of the plot, as in the whole baroque style, there is a man. But the character of the image becomes deeper, richer, more realistic. Completely new genres are also emerging, such as still life, landscape, domestic 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 we look in the encyclopedia, we learn that the Flemings are the inhabitants of Flanders, which, in turn, is modern Belgium. But when it comes to the 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. Its golden age did not last long, only a century. But the works of such masters 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 have a strong influence on the country. Therefore, there can be no talk of any originality.

The Flemish painters of the seventeenth century do have some stylistic features that distinguish them from the Dutch masters from other parts of the country.

Firstly, they are keenly aware of the realistic motives of the Italians, which we will talk about later. Secondly, there are plots centered not on mythical or religious scenes, but on 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 influences.

Borrowing a number of techniques from the Italians, which will be discussed later, became only the basis for the formation of an original style, but in no way dependent on their worldview.

Influence of Italian masters

As we will see later, Flemish and Dutch painting of the sixteenth century is strongly influenced by Italian artists. The turning point begins after Luke of Leiden and Pieter Brueghel the Elder. The latter, in particular, was called "peasant" by contemporaries for the plots of the paintings and the images of the characters.

But after a few changes that have taken place in the political map of the Netherlands, a completely new era begins. Flemish painting, separated into a separate movement, begins its proud march towards the golden period of Rubens.

Bologna school, mannerism, caravaggism - these directions come from Italy to other European states. It is at this turning point thatfinal rejection of medieval standards. Now mythological characters of antiquity, realistic scenes of Dutch life and still lifes with hunting are beginning to dominate in painting.

Monumentality of forms, close attention to detail, bright and lively characters, everyday scenes flavored with a pinch of humor - these are just some of the characteristic features inherent in Flemish painting. It especially stands out against the background of general European fine art with its coloristic effects.

Dutch masters play with the chiaroscuro technique, saturate the paintings with bright colors and broad strokes. They take the once canonical themes and develop them in the everyday genre or even bring them to burlesque. Their characters live and breathe. We will get acquainted with a number of masters further. You will see how expressive the plots are on their canvases.

The history of painting knows many examples when the creativity and work styles of the young generation of artists were influenced by political and social upheavals in society. Therefore, the influence of the Italian masters became a fresh breath of air in the Netherlands, which had just freed itself from the counter-reformation influence.

Painting technique

According to researchers, the technique of Flemish painting was first developed by the van Eyck brothers. But art historians insist that many Italian masters used these same methods much earlier. Let's not go into the vicissitudes of the championship, but let's talk about the technique itself.

The canvas was initially covered with white adhesive primer. He was treated with great care,its whiteness was the lightest shade in the future picture. In addition, the rest of the paints were applied in very thin layers, which allowed the primer to create the effect of an inimitable glow from the inside.

Like many other painting techniques, Flemish has a clear algorithm of actions. At first, a “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 the primed canvas.

After transferring the sketch and setting its boundaries, the future painting was shaded with oil or tempera. The thinnest layer of light brown coating was supposed to preserve the inner glow of the pattern.

Then came the stage of work with "dead colors" (cold and faded tones that do not arouse any interest). And the process of applying bright and rich colors completed the creation of the masterpiece, which still impress ordinary tourists and academic connoisseurs of art.

Masters of Caravaggism

In the 16th and 17th centuries, the Flemish school of painting was influenced by a particular style of European art. Caravaggism is the legacy of the Italian master Michelangelo de Caravaggio. He lived in Rome and was one of the largest Baroque masters in Europe. Modern researchers consider this artist the founder of realism in painting.

He worked in the technique of chiaroscuro (light-shadow), in which there is a contrasting contrast between the dark areas of the picture and the light ones. It is noteworthy that not a single sketch of Caravaggio has been found. Heworked immediately on the final version of the work.

Painting of the 17th century in Italy, Spain and the Netherlands took the new trends as a breath of fresh air. The Italians de Fiori and Gentileschi, the Spaniard Ribera, the Dutch artists Terbruggen and Barburen worked in a similar technique. Caravaggism also had a strong influence on the stages of creativity of such masters as Peter Paul Rubens, Diego Velasquez, Georges de Latour and Rembrandt.

The voluminous canvases of caravaggists amaze with their depth and attention to detail. Let's talk more about the Dutch painters who worked with this technique.

Hendrik Terbruggen was the first to come up with the idea. He visited Rome at the beginning of the 17th century, where he met Manfredi, Saraceni and Gentileschi. It was the Dutchman who initiated the Utrecht school of painting with this technique.

The plots of the canvases are realistic, they are characterized by the soft humor of the depicted scenes. Terbruggen showed not only individual moments of contemporary life, but also rethought traditional naturalism.

Honthorst went further in the development of the school. He turned to biblical stories, but he built the plot from the everyday point of view of the Dutch of the 17th century. So, in his paintings we see a clear influence of the chiaroscuro technique. It was his works under the influence of the caravagists 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 caravaggism. This style is indicated in their works only asa separate stage in the formation of personal style.

Adrian Brouwer and David Teniers

For several centuries, the painting of the Flemish masters has undergone significant changes. We will begin our review of artists from later stages, when there was a move away from monumental paintings to narrowly focused subjects.

First, Brouwer, and then Teniers the Younger, based on scenes from the everyday life of ordinary Dutch people. So, Adrian, continuing the motives of Pieter Brueghel, somewhat changes the technique of writing and the focus of his paintings.

It focuses on the most ugly side of life. Types for canvases he is looking for in smoky, semi-dark taverns and taverns. Nevertheless, Brouwer's paintings amaze with their expression and depth of characters. The artist hides the main characters in the depths, exposing still lifes.

A fight over a game of dice or cards, a sleeping smoker or dancing drunkards. It was these subjects that interested the painter.

But Brouwer's later work becomes soft, humor prevails over the grotesque and rampant. Now the canvases contain philosophical moods and reflect the slowness of thoughtful characters.

Researchers say that in the 17th century, Flemish artists begin to shrink in comparison with the previous generation of masters. However, we simply see a transition from the vivid expression of the mythical subjects of Rubens and the burlesque of Jordaens to the calm life of the peasants by Teniers the Younger.

The latter, in particular, focused on the carefree moments of ruralholidays. He tried to depict the weddings and festivities of ordinary farmers. Moreover, special attention was paid to external details and the idealization of lifestyle.

Frans Snyders

Like Anton van Dijk, who we'll talk about later, Frans Snyders began training with Hendrik van Balen. In addition, Pieter 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. Snyders' paintings are completely different from the canvases of his contemporaries. Frans managed to find his niche and develop in it to the heights of an unsurpassed master.

He became the best in the depiction of still lifes and animals. As an animal painter, he was often invited by other painters, in particular Rubens, to create certain parts of their masterpieces.

Snyders' work shows a gradual transition from still lifes in the early years to hunting scenes in later periods. With all the dislike for portraits and depictions of people, they are still present on his canvases. How did he get out of the situation?

It's simple, Frans invited hunters Janssens, Jordaens and other friends from the guild of masters to create images.

Thus, we see that 17th century painting in Flanders reflects a heterogeneous stage of transition from previous techniques and attitudes. It did not proceed as smoothly as in Italy, but gave the world completely unusual creations of the Flemish masters.

Jakob Jordaens

Flemish painting of the 17th century is characterized by greater freedom than beforeperiod. Here you can see not only live scenes from life, but also the beginnings of humor. In particular, Jacob Jordaens often allowed himself to add a piece of burlesque to his canvases.

In his work, he did not reach significant heights as a portrait painter, but nevertheless, he became perhaps the best in conveying character in the picture. So, one of his main series - "Feasts of the Bean King" - is built on the illustration of folklore, folk sayings, jokes and sayings. These canvases depict the crowded, cheerful, seething life of Dutch society in 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 work of most Flemish artists.

Jordans also did not escape this fate. He worked for some time in the workshops of Rubens, creating sketches for paintings. However, Jacob was better able to create in the technique of tenebrism and chiaroscuro.

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 Jacob's paintings are distinguished by warmer colors, freedom and softness.

Peter Rubens

When discussing the masterpieces of Flemish painting, one cannot fail to 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 portraiture.

He grew up in a family that fell into disgrace because of the antics of his father in his youth. Shortly after deathparent, their reputation is restored, and Rubens and his mother return to Antwerp.

Here the young man quickly acquires the necessary connections, he is made a page of the 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 a connoisseur and connoisseur of the Italian Renaissance. These traits of his personality van Veer passed on to the young artist.

After four years of internship with Otto Rubens, they are accepted into the guild association of artists, engravers and sculptors called the Guild of St. Luke. The end of the training, according to the long tradition of the Dutch masters, was a trip to Italy. There, Peter Paul studied and copied the best masterpieces of this era.

It is not surprising that the paintings of the Flemish artists in their features resemble the technique of some Italian Renaissance masters.

In Italy, Rubens lived and worked with the famous philanthropist and collector Vincenzo Gonzaga. Researchers call this period of his work the Mantua period, because the estate of the patron saint Peter Paul was located in this town.

But Rubens did not like the provincial place and Gonzaga's desire to use it. In a letter, he writes that with the same success Vicenzo could use the services of portrait artisans. Two years later a young manfinds patrons and bookings in Rome.

The main achievement of the Roman period was the painting of Santa Maria in Valicella and the altar of the monastery at 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 grand style, have a large workshop, many apprentices.

Besides this, Peter Paul maintained a relationship with the Jesuit order, which brought him up in childhood. From them he receives orders for the interior decoration of the Antwerp Church of St. Charles Borromeo. Here he is helped by the best student - Anton van Dijk, which we will talk about later.

Rubens spent the second half of his life in diplomatic missions. Shortly before his death, he bought himself an estate, where he settled, 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", "The Hunt for the Hippo", "The Abduction of the Daughters of Leucippus".

Rubens had such a strong influence on Western European painting that in 1843 a monument was erected to him on Green Square in Antwerp.

Anton van Dijk

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 while studying with Hendrik van Balen, to whom he was given as an apprentice. It's the yearsspent in the workshop of this painter, allowed Anton to quickly gain local fame.

At the age of fourteen he writes his first masterpiece, at fifteen he opens his first workshop. So at a young age, van Dijk becomes an Antwerp celebrity.

At the age of seventeen, Anton is accepted into the guild of St. Luke, where he becomes an apprentice with Rubens. For two years (from 1918 to 1920), van Dyck paints portraits of Jesus Christ and the twelve apostles on thirteen boards. Today, these works are kept in many museums around the world.

Anton van Dyck's painting art was more religiously oriented. He paints his famous canvases "Coronation with a crown" and "The Kiss of Judas" in the Rubens workshop.

The period of travel begins in 1621. First, the young artist works in London, under King James, 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 the museums of Munich, Vienna, the Louvre, Washington, New York and many other halls of the world.

Thus, today we, dear readers, learned about Flemish painting. You got an idea about the history of its formation and the technique of creating canvases. In addition, we briefly met with the greatest Dutch masters of this period.