RKD STUDIES

2.4 The Bambocciate in Rome and Beyond

... lofty concepts. For Filippo Baldinucci, who had a certain degree of sympathy for this genre, ‘bambocci o fantocci’ were quite simply poor-quality paintings bereft of all understanding.3 The Bambocciate became famous, nonetheless, and with the passing of the years they developed into something of an artistic creed. In France it became customary to honour (or revile) every Naturalist, popular genre painting by referring to it as a ‘bambochade’.4 As regards Pieter van Laer’s paintings, even his adversaries were obliged to concede that he could paint ‘con una imitatione cosi esatta del natural e con una verità cosi grande’ (in a manner that reproduces nature very accurately and with great realism). Coming from Passeri that was praise indeed.5...

... niera e con l’esempio avanti del naturale’ [in an accomplished manner and with the natural object in front of them].10Having spent 13 years in Italy, van Laer went back to Holland in 1639 at the request of Joachim von Sandrart. He died there a few years later.11 Apparently things did not turn out as he had hoped after his return home. Houbraken reports that he earned very little from his paintings, prompting him to plan a second trip to Italy. Nothing became of it, however. Pieter van Laer had virtually no influence in Haarlem. Dirk Stoop and others engraved and copied his pictures [6-7]. Houbraken provides us with a somewhat improbable story of how Philips Wouwerman came into possession of van Laer’s drawings.12 One element of truth in this story is that the young Philips Wouwerman certainly learned from van Laer’s works, as is apparent from an examination of his style....

... a number of pictures commissioned by the friend of his youth.16 As regards works by Pieter van Laer’s brother, Roeland van Laer (1598-in or after 1635), who reportedly drowned in Genoa in about 1635,17 we know of only one drawing [8], which says nothing about his style as a Bambocciate painter [9].18...

... e city. Cornelis de Bie mentions some of his paintings, and in about 1630 over 40 pictures by ‘Leonardo’ were recorded in the Gaspar Roomer collection, which had previously attracted the attention of Joachim von Sandrart.21 Perhaps Bramer was in Rome again around 1635-1640.22 That would fit in with a number of his Italianate paintings which date to this time. Above all, it would explain several ‘Rembrandtesque’ pictures by Salvator Rosa who had arrived in Rome around 1635 and had an open eye for Dutch art [11].23 Bramer might well have been the one who made Rembrandt’s style known. Salvator Rosa also seems to have been familiar with drawings by Rembrandt and Lievens at an early stage.24...

... yle was extremely popular and that Miel’s little pictures were capable of ‘d’infettare alcune Gallerie per altro degne di gran Personaggio’ [defiling galleries otherwise dignified by great artists].26 Balduccini came to the defence of his depictions of ordinary folk by pointing out that if the objective of painting was ‘la forza dell’imitazione’ [the power of imitation] then no reproach could be made. Jan Miel was not by any means a fanatical painter of the common peo...

... ed the large banqueting hall in the Venaria Reale with monumental hunting scenes [16-17].32 There was no call in Turin for any Bambocciate, and his appointment as court painter, which earned him the title of Cavaliere, was certainly not attributable to his resourcefulness in devising such scenes.33 Miel does not appear to have fully renounced this pastime, however, for Baldinucci states quite explicitly, after having talked of Miel’s frescoes, that the artist continued to paint Bambocciate for members of the nobility which were in no way inferior to those of Michelangelo Cerquozzi [18].34 Jan Miel engaged in ‘high’ and ‘low’ art in equal measure, studying the sources of inspiration for both [19].35 In 1648 he was admitted to the Accademia di San Luca and in 1650 joined the Congregazione dei Virtuosi, although he never foreswore Bambocciate.36...

... cenes, but also agreeable hunting and battle scenes [21-22]. In an amusing picture he depicts a performance of the Commedia dell’Arte (H. Davis Collection, London) [23].42 His still lifes, which are more Flemish than Dutch, can most readily be compared with works by Neapolitan artists [24]. Just how popular paintings by van Laer and his circle were at the time is apparent from an inventory note of 1667 which records six copies after Cerquozzi and one original.43 Unsigned pictures in the style of the Bamboccianti are still found quite frequently even now.44...

... types are a little more caricature-like than Pieter van Laer’s good-humoured strollers [27-28]. Since Both had already developed this style during his time in Venice, it must be assumed that he brought it with him from the land of Adriaen Brouwer. For that reason he cannot simply be numbered among the successors to Pieter van Laer. Rather it should be pointed out that he added a stylistic element of his own to the painting of Bambocciate. Andries left Rome with his brother Jan around 1641....

... Caravaggio, are especially attractive [30]. He has been compared with the brothers Le Nain, which is justifiable in that both artists kept genuine Bambocciate at arm’s length. As Roberto Longhi has shown, Sweerts also considered himself a match for the ‘Roman’ Poussin.50 And since we’re talking of French painters, it is perhaps appropriate to recall Sébastien Bourdon, who was in Rome while Pieter van Laer was still alive and thought as much of the Dutchman’s art as he did that of the works of the great Italians he copied.51...

... and 90s.56 If the term ‘late travellers to Italy’ is not interpreted too narrowly, one or other of their number, such as Thomas Wijck, Karel Dujardin, Johannes Lingelbach and Barend Graet, can be counted among the followers of Pieter van Laer. In Brussels there is a hunting scene dated 1674 by the comparatively unknown Jacob (Giacomo) van Staverden (1656[?]-after 1716) which must have been inspired by Bamboccio [41]. Christian Reder (1656/61-1729) from Leipzig also painted scenes of this kind amongst others [42].57...

... a meticulous examination of Voss’s reconstruction of Amorosi’s oeuvre, 63 has come to the conclusion that a group of works which date to an earlier period should be excluded from it and, for reasons set out in his essay, attributed to Keil.64 This consequently renders obsolete the old attributions in Danish collections, such as Evening Visit to the Sculptor (Copenhagen) [45], which was mentioned in an inventory in 1674, and similar pictures in the Honthorst style.65 The ‘newborn’ Keil can be seen as a representative of the ‘ pittura popularesca italiana’ with a tangible element of Haarlem-style painting; Longhi describes him as ‘un Frans Hals mancato’ [a flawed Frans Hals]. To that extent his pictures can be counted among the successors of the Bambocciate, which ultimately had their origins in Haarlem painting and not in Rembrandt’s Amsterdam. They are broad genre images, dashed off rather than carefully finished, completely non-classical and non-academic in character. For that reason they were soon disdained and forgotten (fig. 15/43) [46-49]....

... such as Cornelis de Wael and Goffredo Wals [52-53].68 The chiaroscuro painting of Giuseppe Maria Crespi (1665-1747) from Bologna, by contrast, had less to do with Rembrandt and more with Guercino and Mattia Petri [54].69 His popular scenes are also reminiscent of Venetian and Flemish-Dutch models, although there is never the slightest doubt about their Italian character [55]....

... great deal – he spent some time in Turin and Grenoble but was otherwise in France – and, since his portraits also have a French look about them, the possibility cannot be excluded that he came to be known in France for his Dutch genre paintings....

... numentality in his work [65-66]. Ceruti’s paintings have a very close affinity with the works of the brothers Le Nain. Like the Dutchmen he has a keen eye for the painterly treatment of every detail in a picture, regardless of whether it is a still life or a piece of cloth. On the other hand, he produced genre pictures in the Venetian style that were previously attributed to Pietro Longhi and Antonio Amorosi, portraits in the style of Giambattista Piazzetta and altarpieces in the manner of Carlo Carloni and Fra Vittore Ghislandi (Galgario).77...

3.5 Other Art Centres in Northern Italy in Relation to Netherlandish Art

... ughet in Rome, where he spent the second half of the 1660s.10 His very effective storms at sea were imitated by many Northern Italian painters in the 18th century. Marco Ricci, of whom we spoke a moment ago, also owed a great deal to Mulier, and even Francesco Guardi (1712-1792), under whose name a work by Tempesta was once published, was subject to his influence [2].11 Rinaldo della Montagna (died 1661), who allegedly hailed from Holland (and may have been called van Bergen?), came to work with him, as did Jan van Bunnick (1654-1627) [3]....

... e Grevenbroecks reveal the rather insipid style of the Saftleven school, traces of which are also to be found in Venice in the works of Marco Ricci. Tavella took over very little from Grevenbroeck, however, and so this thin thread in the Dutch tradition peters out here....

... ngs in his animal and landscape drawings [13]. The artist travelled a lot in Italy – he was in Venice, Bologna, Naples and Rome – before ending his days as court painter in Mantua. So there were sufficient opportunities for him to come into contact the Dutch art. On the other hand, his pastoral scenes were greatly admired, especially in France, until well into the 18th century (by Boucher and Fragonard) so that the Berchem style was also passed on in France through his mediation and transformation....

... Vincenzo Campi (1530/6-1591) [17]20 right on up to Jan Roos I from Antwerp (1591-1636) [18]21 and Antonio Maria Vassallo (167/8-1660),22 Castiglione’s rival. Even Giovanni Agostino Cassana (c. 1665-1720), who was born later, retained this old-fashioned style. A fish still life of 1704 looks like a work by Clara Peeters (auctioned in London, 9 July 1926) [19].23...

... the city in 1663.26 This painter of Bambocciate is barely recognisable in the Turin frescoes, but if we bear in mind that he became accustomed to ‘large-scale’ painting in Sacchi’s studio then he is certainly not out of place in these princely surroundings [21].27 Oddly enough, Dirck Helmbreeker (1633-1696) did not paint any religious scenes for the duke but a number of Bambocciate instead ...

... in Milan, Berchem’s art was revived in the elegant French variant we are familiar with from 18th century paintings. Another artist from Milan, Francesco Londonio (1723-1783) likewise deserves an honourable mention here [25]. He made delightful oil sketches in the style of Berchem, Rosa di Tivoli and Dujardin.29...

... ...

... d for the Dutch consul.32 Augustinus Houbraken was also active in Livorno. He painted various altarpieces for the church of Santissima Annunziata, where they can still be seen today.33...

... Dutch vanitas still lifes, which initially spring to mind here, are treated in a more painterly fashion and are more loosely composed.38 Caravaggio himself will probably have been the source of inspiration here, although Delogu rightly points to similar compositions in the work of Adriaen van Utrecht.39 The fish still lifes are highly reminiscent of Jacob Gillig. Dutch poultry still lifes must have served as the model for the Italian minor masters who devoted their attention to this special genre of painting.40...

... rivelli (c. 1650-1730), known as Il Crivellone, would be unthinkable without Hondecoeter’s inspiration [36]. Some of them are more primitive and in their conception more readily comparable with Roelant Savery’s (1576-1639) paintings of hens. In his more dynamic pictures he naturally follows Frans Snijders (1579-1657) and Paul de Vos (1595-1678).43...

... 27/8-1671).45 Brescia, incidentally, was also where the influence of the Bambocciate lasted longest. Ceruti and Cipper-Todeschini were the final representatives of this originally Dutch movement which by now had been fully assimilated into Italian art....

2.6 Dutch Landscape Painters in Rome

... d by Claude’s sublime landscape art.9 Both had a more pronounced sense of light and colour than Swanevelt, for whom composition was of overriding importance. A group of trees with dense foliage penetrated by rays of sunlight on one side of the picture and a view of the Campagna countryside set against a backdrop of mountains shimmering in a bluish-grey haze on the other side constituted the main elements of his mood landscapes [4]. A lone wanderer or a shepherd couple driving their animals through a ford convey a sense of a happy, carefree life. Dutch collectors adored such Arcadian images, just as the generation before them had appreciated the mythological idylls of Poelenburch and of all the fijnschilders who imitated him. Jan Both returned to Utrecht in 1642 and the impact his Claude-inspired style had on Dutch artists and contemporary tastes can hardly be overestimated.10...

... there is also clear evidence of the continuing influence of Pieter van Laer’s art, which may have been passed on by Michiel Sweerts. Weenix lived a good life in Rome. He found a patron in Cardinal Giovanni Battista Pamfilj, the later Pope Innocent X, whose commissions kept him busy for four years. None of his works from this period have survived, however [9].17 Nicolaes Berchem was certainly the most prominent of the four artists [fig. 46] [10]. His was astonishingly prolific and highly creative in inventing ever new Italian motifs. The example he set was a constant source of enthusiasm, especially in the 18th century. The French led the way here but Northern Italian landscape painters, too, had an open eye for the beauty of Berchem’s idylls – a subject to which we will return later....

... lly that it is often impossible to distinguish between the ‘genuine’ and the ‘pseudo’. Of the many artists on whom the Italian sun shone we can mention only the better known. Among the artists present in Rome in the 1640s were Hendrick Mommers (1619/20-1693), Hendrick Verschuring (1627-1690), Johannes Lingelbach (1622-1672) [11] , who travelled together with Jan Worst (died...

... urgomaster ‘Maarzeveen’ who persuaded him to embark on a second trip to Italy and so he spent three more years there [21-22].24 When in Rome he encountered the members of a younger generation, among them Adriaen van de Velde (although doubts have been raised as to whether he was actually ever in Italy),25 Willem Romeyn (c. 1625, in or after 1695) [23], a pupil of Berchem and du Jardin,26 and Frederik de Moucheron,27 who had just finished his apprenticeship under Asselijn....

... the ‘Bent’, which christened him ‘Mercurius’, because of the speed with which he painted.31 He lived in a ruin near Tivoli, rarely ventured into the city and never returned to Germany [27]. The numerous pictures made by this Rosa di Tivoli, as the Italians called him, were to be found everywhere.32 He demonstrated little ingenuity in his adaptations of Berchem’s Romantic ruins which he sold to the general public. The much-travelled Christian Reder (1656/61-1729), who settled in Rome in 1686, also paid homage to Berchem in his idyllic pastoral images [28].33...

... s is not the place to do so. The disadvantage of such a brief periodical overview is that it obscures the different directions in which landscape painting was moving at any given time. Many artists (such as Hendrick Verschuring and Johannes Lingelbach) loved to portray daily life in port towns and cities; Adam Pynacker was intrigued by the motif of a river valley at twilight; a third group of landscapists betrayed the lingering influence of the Bambocciate, while others embodied the very long-lasting influence of Claude Lorrain....

... tled Signorum veterum icones.41 In compiling this book he availed himself of ‘de gunst von goede vrienden, die de zelve (schetsen) te Rome geteekent hadden’ [the favour of good friends who made sketches in Rome]. These colleagues and friends were Pieter Donker (c. 1635-1668), Willem Doudijns (1630-1698), Jacob Matham (1571-1631), Dirck Ferreris (1639-1693), Jacob Neeffs (1610-after 1660), Adriaen Backer (c. 1636-1684) and Nicolaes Wilingh (c. 1640-1678).42 However, we know for certain that Jan de Bisschop was in Italy too.43...

... assical style of Nicolas Poussin [47].47 The vedute lived on in paintings, initially in a fanciful and Romantic form, such as in the harbour paintings of the brothers Jacobus and Abraham Storck and in compositions that reflect Beerstraaten’s impressions of Italy [48].48 Johannes (c.1615/6-1686) and Hendrick Danckerts (c. 1625-1679/80) may have familiarised themselves with vedute in Italy, later taking such views to great perfection in England [49]....

... olour on parchment from 1683 showing Castel Sant’Angelo as well as large undated canvases with views of Rome [53]. The faithful topographical rendering of a city distinguishes van Wittel from the Roman painters of ruins who were fond of portraying such remains in painterly fashion at the onset of dusk. There can be no doubt whatsoever that in the 18th century Giovanni Paolo Pannini and Giovanni Battista Piranesi looked to van Wittel for inspiration the moment they began painting vedute....

... ia Pamphilj in Rome [57]. Shortly after the turn of the century van Wittel spent a number of years at the court of the Duke of Medina Coeli in Naples.54 While there are plenty of drawings and paintings which date from this period [58], there is no indication that he exerted any influence on painting in Naples. In 1713 the artist was back in Rome and thereafter was regularly appointed to the position of director or curator of the foreign members of the Academy. As a draughtsman he was by no means just an accurate topographer. There are some brilliantly dashed off drawings with a with sheer brilliance which in the past were occasionally attributed ...

2.2 The First Generation of Landscape Painters in Rome

... 3, adhered to Mannerist landscapes, his younger brother Paul Bril (1553/54-1626), who was fortunate enough to be able to express himself in both frescoes and cabinet paintings, initiated a move towards naturalistic landscapes. The frescoes in Santa Cecilia in Trastevere (c. 1599) [1-2] and the Vatican (1606/7) [3] – to mention just two of his works – are outstanding atmospheric landscapes which had a great impact.2...

... -1635), Jan Pynas (c. 1581/2-1631)7 [7-8] and his brother Jacob Pynas (c. 1592/3-after 1650),8 Mozes van Wtenbrouck (c. 1595-1647) 9 and Hendrick Goudt (c. 1583-1648), the latter not as a painter but as an engraver of Elsheimer’s compositions [9]. 10 The members of this group discarded the Mannerist flourishes of their youth, embracing instead the composed, classical style characteristic of Elsheimer and Carracci. Like Dutch Caravaggism, this movement runs counter to the dissemination of Dutch art, so we will have to content ourselves here with this brief reference to it.11...

... at Poelenburch also learned from Elsheimer and he will definitely have admired Bril’s works. However, he was probably the first Dutch landscape painter whose works attracted attention in Rome because of their artistic and not their topographical character and consequently found their way into Italian collections.17 Poelenburch’s charming cabinet pieces featuring dancing putti and rejoicing angels [20] as well as a peaceful flight into Egypt [21] are more graceful than the mythological images of Francesco Albani (1578-1660) from Bologna, who was highly regarded by his contemporaries. Poelenburch also presents his vedute in a new guise [22-23]....

... e was back in Holland that Poelenburch produced most of his vedute, for like all his contemporaries he naturally invented other compositions at home that were based on his abundant memories of Italy. When he was in the country he seems to have preferred red chalk for his drawings.18...

... uring his time in Rome are painted in a gentle and airy manner in the style of Poelenburch [28]; later on he was exposed to other influences which led him to embrace Amsterdam-style classicism.20...

... by Tassi’s coastal views in Palazzo Lancellotti [29-30] and Palazzo Doria Pamphili [31-32]. In these scenes, which date to the second half of the 1630s, Tassi moves beyond Bril’s layered composition. Could it be that he, too, perceived something in the loose and airy renderings of the Dutch landscape painters? It was not given to the Dutch artists to try out this style in frescoes, but Tassi, who copied one of Bril’s cabinet paintings, will also have been familiar with the paintings and drawings by Poelenburch and Breenbergh....

... age figures in the style of the Dutchman, Pieter van Laer, to paintings by Sacchi, Tassi and Claude. In the 1630s, the landscape art of Elsheimer and Breenbergh experienced a harmless second flowering in the works of Claes Moeyaert (1591-1661), Nicolaes Latombe (1616-1676), Marten de Cock,26 Jan van Bronchorst (c. 1603-1661) (who specialised in etchings after Poelenburch) [34]),27 Steven van Goor (1607/8-after 1659) and Chaerles de Hooch (died 1638) [35].28 Jan Both, who viewed the Roman Campagna through the eyes of Claude Lorrain in the second half of the 1630s, marks the start of a second period of Dutch landscape painting which we will examine later.29...

2.1 Caravaggism

... the Crucifixion of St. Peter in Santa Maria del Popolo [4-5], the Entombment of Christ in the Vatican [6], the Madonna di Loreto in Sant’Agostino [7] as well as other works in Roman churches or in the possession of his patrons. Among the latter Marchese Vincenzo Giustiniani (1564-1637) is of particular importance for us because he was favourably disposed towards the Netherlandish painters and engravers.2...

... mewhat antiquated and ungainly (The Apostles in Deventer) [8-11]. This makes it a little unlikely that he exerted any influence on the Italian artist, Giovanni Serodine (1594/1600-1630), who did not arrive in Rome from Northern Italy until 1615 and whose works are very similar to his [12].6...

... kept very close to his revered model, as is evidenced by the repetition of Caravaggio’s Entombment of Christ in San Pietro in Montorio, which probably dates to 1617 [16]. In his Italian works Baburen generally adhered more closely to the strong chiaroscuro of Caravaggio’s mature style, as did Valentin de Boulogne, whereas after his return to Utrecht he modelled himself on Ter Brugghen’s style (for instance in his Flagellation of Christ [= Crowning with thorns, eds.] in the Franciscan monastery in Weert) [17].11...

... la Concezione [22], Santa Maria della Vittoria [23]) and the surrounding countryside (San Albano Laziale [24], Castelvetrano [25],18 Monte Compatri [26]).19 He had patrons in Florence and Rome, where he enjoyed the protection, in particular, of Marchese Vincenzo Giustiniani and Cardinal Scipione Borghese.20 Marchese Giustiniani commissioned him to paint the large night-piece Christ before Caiaphas (now in the National Gallery in London) [27], of which there are numerous replicas both in Italian churches and collections and elsewhere.21...

... reground in order to conceal the source of light, thus bringing out the contours very starkly. Like Valentin de Boulogne (1594-1632) he was very fond of half-length paintings. However, Honthorst learned nothing from the way Caravaggio’s bodies generate space or from his powerful, cohesive composition, which is such an eminent feature of each of his paintings. Honthorst often transferred the serious style of his model to the friendly environment of a pleasing genre picture, thereby increasing its attractiveness for many collectors. Bartolomeo Manfredi (1582-1622) may have given him a few lessons in the ‘dark manner’.24...

... ble renown in the course of a long life. It should be pointed out, however, that van Bijlert, who had many pupils, was not a fanatical Caravaggist [31].28 Even the past master of Utrecht Mannerism, Abraham Bloemaert (1566-1651), who had taught Honthorst and van Bijlert, was persuaded by his former pupils to try his hand at the new style [32].29...

... ers who can be counted in a broad sense among the followers of Caravaggio in the Netherlands. They concentrated for the most part on half-length figures with a Naturalist surface treatment. This external assimilation of Caravaggism together with light, grey shading would suggest that Ter Brugghen’s style of painting took on a significance in Utrecht that should not be underestimated....

... vaggio (in the manner of Honthorst) among German artists is the work of Wolfgang Heimbach (1613/16-1678). His candlelight pictures are formal and inept derivatives of Honthorst’s genre paintings in shimmering yellow light [43-44].33 Heimbach did not arrive in Rome until 1645, which indicates just how tenacious this style was.34...

... 50].39 Looking at the ‘Cato master’ Hermann Voss is reminded of Leonello Spada (1576-1622), whose Judith in Bologna [51] is similar in style, while Bernardo de Dominici was familiar with works in Naples of a Domenico Viola (c. 1610/15-1696) , whose night-time effects are supposedly reminiscent of Stom.40 At all events, the extent of Honthorst’s influence in Southern Italy is quite striking.It was not long before Caravaggism came to an end in Rome itself. After the mid-1630s Caravaggio’s art no longer held any power over the artists from the north who came to the city....

2.3 The Dutch in Rome: the Bent and the Academy

... up to around 1625), in the Corso and in the narrow side streets and alleyways. This was the real foreigners’ district where the French painters and non-Romans felt at home.2 During the day, however, the young artists could have been seen everywhere in Rome: at the Forum, at the Colosseum, somewhere along the banks of the Tiber, at the Vatican, at Castel Sant’Angelo and outside the city boundaries in the catacombs or in the Campagna. Lake Bracciano [2],3 which the artists would have seen on their journey to Rome, was a favourite place for them to visit plus, above all, Tivoli [3] and the villages situated higher up above the River Anio such as Anticoli, Saracinesco and Subiaco. The Alban Hills and Frascati seem to have been frequented less often at that time....

... oyed their own servant.It was not long before all the Dutch artists joined together to set up a colony. In the beginning this ‘Bent’ (fraternity) was very probably no more than an informal, sociable gathering, but events led to a consolidation of the artists’ sense of community and the formation of closer ties between them.8 An initial circle must have formed in about 1620/1 around Cornelis van Poelenburch, Bartholomeus Breenbergh, Wybrand de Geest and a few less well-known painters. Jan van Bijlert has preserved the portraits of the founders of the ‘Bent’ for posterity in five drawings which are now in Museum Boijmans van Beuningen in Rotterdam [4-8]. They all appear with their ‘Bent’ names, which were not exactly flattering. Interestingly enough, Pieter van Laer was not...

... me, including those from abroad who were not affiliated to any organisation.12 The Dutch were certainly at a disadvantage here, because the small figure paintings which had become fashionable since the days of Adam Elsheimer and Paulus Bril and which Italian customers were happy to buy could never – in the eyes of the representatives of official art – be placed on a par with great history paintings. Quite correctly from its point of view, the Academy feared a decline in art and its own reputation if it were to allow such common scenes portraying ordinary people into the temple of high art. A hint of professional jealousy may also have played a part. For the Academy no w...

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... isien en 1922 (2 vols.), Dijon 1922...

... ischen und deutschen Maler des Carel van Mander: Textabdruck nach der Ausgabe von 1617: Übersetzung und Anmerkungen von Ha...

... ish painters: translation from the Schilderboeck, New York 1936...

... ish and German painters, from the first edition of the 'Schilder-boeck' (1603-1604 … (6 vols.), Doornspijk 1994-1999...

... turies. Liber Amicorum. Presented to Rudolf E.O. Ekkart on the Occasion of his 65th Birthday, Leiden 2012, p. 285-292...

... isore', Bollettino d'arte 27 (1933), p. 14-24...

... ello. Deux noms... un seul artiste', Art et Curiosité (...

... art 1928‘, Mededeelingen van het Nederlandsch Historisch Instituut te Rome 8 (1928), p. 89-110...

... ritshuis à L Haye: catalogue raisonné des tableaux et sculptur...

... th century Florence', Apollo 120 (1984), p. 268-272...

... isti stranieri a Bergamo: tra grande decorazione e pittura di genere’, in Il Seicento a Bergamo, Bergamo (Pal...

... istiana 727 (1988), p. 283-292...

... prent en tekening, Amsterdam (Het Rembrandthuis) 1991...

... isz. van Rijck and Venice’, Oud Holland 113 (1999), p. 137-152...

... izio, Repertory of Dutch and Flemish paintings in Italian public c...

... ischen Innhalts (5 vols.), Erfurt 1779-1787...

... ai (eds.), I Bamboccianti. Niederländische Malerrebellen im Rom des Barock...

... 60)’, Mélanges de l’école Française de Rome 93 (1981), no. 2, p....

... 26 (1908), p. 67...

... is 1909...

... is 1665-1666...

... isans in Delft. A socio-economic study of the seventeenth century, Princeton 1982...

... ischen Kunstsammlungen 50 (1929), p. 45-83...

3.4 The Importance of the Dutch for Venice in the 18th Century

... ds, in particular, make it clear that Rembrandt was seen here through the eyes of fine-painters à la Denner [4-5].6 A contemporary called them ‘ teste, depinta con tanta forza sull’elegante e singular maniera del Reimbrandt’ (heads painted with great vigour in the unique and elegant manner of Rembrandt).7 Giuseppe Nogari (1699-1766), an artist of his generation, provides a notable example of chiaroscuro painting in the manner of Rembrandt that is associated with the fine-painting of a later period. He almost always uses artificial light, thereby reproducing Rembrandt’s chiaroscuro in a manner as superficial as that of the fine-painters putting wrinkles on faces in ‘Dutch Realism’. This style proved especially popular in Germany and it therefore comes as no surprise to find so many paintings by Nogari in such a long-established German collection as the one in Dresden (fig. 18/55) [6-7].8...

... art also made a strong impression on him. The impact of Rembrandt’s work is perhaps most noticeable in his prints.10Giambattista Piazzetta (1682-1754) from Venice was apprenticed to Crespi in Bologna and adopted his ‘Rembrandtesque chiaroscuro’ [9-10].11 Johann Liss and Rembrandt were his teachers, or so it was said, and a series of etchings ‘sul gusto di Rembrandt’ has even been attributed to him.12 In any event, the dense, sombre chiaroscuro of the Rembrandt school was transformed in Venice into the light, bright Rococo of the 18th century. Relations with Rembrandt w...

... e avoided such borrowings [14-15].15 The two series of head studies Domenico etched after drawings and paintings by Giambattista look for the most part more Rembrandtesque than the originals.16 The studies of Rembrandt to be found so often in print...

... Berchem and Wouwerman [18]. Seldom did he paint a tranquil landscape in the Dutch style like the winter scene à la Saftleven, which is in a collection in Venice.26 His mixed Dutch-Venetian style later made him very successful in England, which he probably visited twice. This Arcadian tendency was continued by his pupil, Giuseppe Zais (1709-1781). He was more cursory and flexible than his teacher, which explains why his work often bore a greater resemblance to the ‘precursor of Rococo’, Nicolaes Berchem, than that of his teacher ever did [19-20].27 His landscapes were not so deeply rooted in the tradition of Claude, often being more reminiscent of the vague and airy manner of Jan Both [21]. It should not be forgotten that Zuccarelli and Zais lived in Venice at the time of Francesco Guardi, when the painterly trend was at its peak.28...

... to assume that there was any mediation on the part of Luca Carlevaris (1663-1730) to see that Canaletto’s vedute paintings had their origins in van Wittel. In his drawings, too, Canaletto took over technical features from the Dutch artist, who in turn had learned them from Claude.30 Carlevaris [23], for his part, may have become familiar with van Wittel’s style in both Venice and Rome, where he stayed as a young man. An early work of his, which recently came to light after being discovered in the holdings of the museum in Modena [24], shows that even as a young man he had assimilated a great deal of the Dutch-oriented vedute painting tradition in Venice, the best-known representative of which was the younger Joseph Heintz (c. 1600-1678).31...

3.3 Dutch Art and Artists in Venice

... k (1567/8-1635/40) [1],4 a pupil of Huybrecht Jacobsz. Grimani who derived his inspiration primarily from the Bassano family, to Dirck de Vries (d. 1612) [2-4]5 and the Naturalist painters, Jacob Isaacsz. van Swanenburg (1571-1638) and David Bailly (1584-1657) we find the representatives of the first generation gathered here.6 Caravaggio’s followers ...

... d mix-ups of attributions with the paintings of the elder Domenico Fetti (1588/9-1623) and of Bernardo Strozzi (1581-1644), a Genoese artist who settled in Venice after 1631.10 Fetti’s genre paintings [6], which have their origins in Orazio Borgianni and the Elsheimer circle including Carlo Saraceni, must have been very much to the taste of Jan Liss, but any influence exerted upon him can only have come from the elder Fetti. On the other hand, when Strozzi arrived in Venice he owed a great deal to this first generation of anti-Mannerist painters. His style, which had started to move increasingly towards Naturalism when he was still in Genoa, due to the influence of Rubens and van Dijck, loosened up here, becoming freer and more painterly [8-9]. Indeed, Hoogewerff observed that Strozzi painted study heads which were inspired by Rembrandt’s etchings from the 1630s [7].11...

... nt Roghman (1627-1691) stayed there [12].19 Simon Dubois (1632-1708), who studied under Berchem and Wouwerman, must have been in Venice in 1657.20 So it would be wrong to state that the Dutch landscape painters steered clear of the city. The Berchem tradition was taken up by Karel du Jardin (1626-1678), who died in Venice in 1678 during his second trip to Italy. 21 Johannes Glauber met him there and told Houbraken of his death.22 Jacob de Heusch (1656-1701), whose landscapes sold well in Venice,23 and Jan van Bunnik (1654-1727), 24 who purportedly worked with Johann Carl Loth (1632-1698), mark the end of the Both-Berchem style of landscape painting. To this group can be added the two Storcks, Abraham and Jacobus Storck (or Sturck), provided one is willing to accept their fanciful Venetian views as proof that they stayed in Italy.25 We should not forget that Gaspar van Wittel painted a major veduta in Venice in 169726 and that before him Dutch marine painters such as Hendrik Vroom (1562/3-1640),27 Rinaldo della Montagna and Pieter Mulier II found scope for their activities in the city.28...

... tive in the region. When Willem Schellinks (1623-1678) came to Verona in 1665, he was shown around town by a ‘Monsr Spruit zijnde een stillevenschilder’ [‘Mr Spruit, a still-life painter’]. Spruit was probably active in Venice, too, particularly since at the time Schellinks met him he was living with a colonel in Venetian service.38 Ten years earlier Willem van Aelst (1627-1683) returned for a second visit; he must have left for home in 1656, departing from Florence, where he was very successful, and travelling via Padua and Venice.39...

2.7 Marine Cavalry Battle Scene and Still-Life Painters in Rome

... talian ports as they were to depict romantic landing places along the Turkish, Greek and African coast.6 It was not for nothing that Blankerhoff, Zeeman and Verschuier studied Claude Lorrain’s colourful sunsets. We will come on to Pieter Mulier II, who was here from 1666-1670, and Orazio van Grevenbroek a little later when we look around Northern Italy. The Frenchman, Adrien Manglard (1695-1760) [3-5],7 who worked in Rome for many years, is noted as an imitator of Adriaen van der Kabel. Kabel himself, however, was so Italianised that there can be no talk of Manglard having received any Dutch training....

... questrian battle scenes in his youth [9], thereby continuing the tradition established by Esaias van de Velde and Pieter de Neyn. 10 In Italy he soon stopped painting such scenes, but Courtois-Bourguignon very likely saw pictures of this kind in his studio. It is impossible to establish the impact Rinaldo della Montagne had on Courtois because the works of this obscure figure have long been forgotten....

... all over Italy painting mostly landscapes.14 The Fleming, Hendrik Frans van Lint (1684-1763), who had modelled himself on Wouwerman in his home country, was content with painting vedute in the Flemish style while in Italy [12-13].15...

... ),23 Matthias Withoos (c. 1627-1703) [17],24 Carel de Vogelaer (1653-1695),25 Christoffel Puytlinck (1640-1679/80) [18],26 Jacob Campo Weyerman (1677-1747) 27 and Pieter van der Hulst IV (1651-1727).28 The latter derived the inspiration for his flower paintings from Mario Nuzzi, while Carel de Vogelaer took his adaptation a step further and painted accessory objects for Carlo Maratti. 29 We will meet some of these painters again in Naples and Florence....