Flemish painting. The technique of Flemish painting. Flemish School of Painting

Classical art, unlike modern avant-garde trends, always won the hearts of the audience. 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, the riot of colors and the vastness of themes that are realized in the plots.

In this article we not only talk about the specifics of this trend, but also get acquainted with the technique of writing, as well as with the most notable representatives of the period.

Baroque in Painting

The history of painting reflects in full all the changes in the social and political life of mankind. So, cheerful and unbridled antique murals are replaced by gloomy and dead subjects of the Middle Ages.

Baroque ("quaint, prone to excess") reflects a departure from old and boring dogmas. It absorbed all the daily moods and traits 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, more saturated, more realistic. Also there are completely new genres, such as still life, landscape, everyday scenes.

Let's figure out how the 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 Flemish are the inhabitants 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.

There is a logical question: 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 were freed 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, just a century. But the works of such masters as Peter Paul Rubens, Anton van Dijk, Jacob Jordaens and some other artists, became the prime of national Dutch art. Later, in the eighteenth century, the country began to exert a strong influence of French culture. Therefore, there can be no question of any originality.

Flemish artists of the seventeenth century still have some features of the style that distinguish them from Dutch masters from other parts of the country.

First, they are vividly aware of the realistic motives of the Italians, which we will talk about later. Secondly, there are stories, in the center of which are not mythical or religious scenes, but everyday stories from the life of ordinary citizens.

Thus, it turns out that Flemish painting is an early stage in the development of Dutch art. But the main feature of this era are national Dutch motives, undisturbed by foreign influence.

Borrowing from the Italians a number of techniques, which will be discussed further, have become only the basis for the formation of an original style, but not a dependence on their worldview.

The influence of Italian masters

As we shall see later, Flemish and Dutch paintings of the sixteenth century are strongly influenced by Italian artists. The turning point begins after Luke Leidensky and Peter Brueghel the Elder. The latter, in particular, contemporaries called "peasant" for the subjects of paintings and characters.

But after a few changes that have occurred in the political map of the Netherlands, a whole new era begins. Flemish painting, separated in a separate stream, begins its proud procession to the golden period of Rubens.

Bologna school, Manneric flow, caravagism - these directions come from Italy to other European states. It is at this critical moment that the medieval standards are finally abandoned. Now in the painting, mythological characters of antiquity, realistic scenes of the Dutch way of life and still life with a hunt are increasingly beginning to prevail.

Monumentality of forms, close attention to detail, bright and lively characters, everyday scenes, flavored with a pinch of humor - this is only part of the characteristic features inherent in Flemish painting. Especially it stands out against the background of the general European fine arts with its coloristic effects.

Dutch masters play with the technique of kyaroskuro, saturate the paintings with bright colors and wide strokes. They take 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. You will see how expressive the stories on their canvases.

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

Painting Technique

As the researchers say, the technique of Flemish painting was first developed by the brothers van Eyck. 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 covered with a white glue primer. He was treated with great care, as his whiteness was the lightest shade in the future picture. In addition, the rest of the paint was applied in very thin layers, which allowed the soil to create an inimitable glow effect from the inside.

Like many other painting techniques, the Flemish has a clear algorithm of action. 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 outlines of the image. After using coal powder, the workpiece was carefully transferred to the primed sheet.

After transferring the sketch and establishing its boundaries, the future picture was obscured by oil or tempera. The finest layer of a light brown coating was to preserve the internal glow of the pattern.

Then there was a stage of work "dead paints" (cold and faded tones, not causing any interest). And the creation of the masterpiece was completed by the process of applying bright and juicy colors that impress ordinary tourists and academic art connoisseurs until now.

Masters of caravagism

In the sixteenth and seventeenth centuries, the Flemish school of painting was influenced by a special style of European art. Caravagism 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 kyaorokuro (light-shadow), in which a contrasting contrast of the dark sections of the picture with a light one occurs. It is noteworthy that not a single sketch of Caravaggio was found. He worked immediately on the final version of the work.

Paintings of the 17th century in Italy, Spain and the Netherlands took new trends as a breath of fresh air. In this technique, the Italians de Fiori and Gentileski, the Spaniard Ribera, the Dutch painters Terryruggen and Barburen worked.
Also, Karavadzhizm 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 the Caravaggists impress with their depth and attention to detail. Let's talk more about the Dutch painters who worked with this technique.

The very first ideas were taken by Hendrik Terbruggen. He visited Rome in the early 17th century, where he met Manfredi, Saraceni and Gentileski. It was the Dutch who initiated the Utrecht school of painting with this technique.

Plots of paintings are realistic, they are characterized by a soft humor of the scenes depicted. Terbruggen showed not only certain moments of his modern life, but also reinterpreted traditional naturalism.

Further in the development of the school went Honhorst. He turned to the 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 the obvious influence of the technique of kyaoroscuro. It is the work under the influence of the Caravaggists 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 Karavadzhism. This style is indicated in their works only as a separate stage in the development of a personal style.

Adrian Brouwer and David Teniers

For several centuries the painting of Flemish masters has undergone significant changes. We will begin our review of artists from later stages, when there was a departure from monumental canvases to narrow-minded subjects.

At first Brauver, and afterwards Teniers the Younger in the basis of creativity put sketches from the daily life of ordinary Dutch. Thus, Adrian, continuing the motives of Peter Brueghel, somewhat changes the technique of writing and the focus of his paintings.

It focuses on the most unsightly side of life. He searches for canvases in smoky semi-dark taverns and taverns. Nevertheless, Brauwer's paintings amaze with their expression and depth of characters. The artist hides the main characters in the depths, putting on the forefront of still lifes.

A fight for playing dice or cards, a sleeping smoker or dancing drunkards. These are the subjects that interested the painter.

But later works of Brouwer become soft, in them humor prevails over the grotesque and unrestrained. Now the canvases contain philosophical moods and reflect the slow pace of pensive characters.

Researchers say that in the 17th century Flemish artists began to grow smaller compared to the previous generation of masters. However, we simply see a shift from the vivid expression of the mythical plots of Rubens and the burlesque Jordaens to the quiet life of the peasants at Teniers the Younger.

The latter, in particular, concentrated on the carefree moments of village holidays. He tried to depict weddings and festivals of ordinary farmers. And special attention was paid to external details and the idealization of the way of life.

Frans Snyders

Like Anton van Dijk, which we will talk about later, Frans Snyders began training with Hendrik van Baalen. In addition, his mentor was also Peter Brueghel the Younger.

Considering the work of this master, we get acquainted with one more facet of creativity, which is so rich in Flemish painting. The paintings of Snyders are completely different from those of his contemporaries. At Frans it has turned out to find the niche and to develop in it up to heights of the unsurpassed master.

He became the best in the image of still lifes and animals. As an artist-animalist, he was often invited by other painters, in particular Rubens, to create certain parts of his masterpieces.

In the works of Snyders there is a gradual transition from still lifes in the early years to scenes of hunting in later periods. Despite all the dislike for portraits and depicting people, they still have it on the canvases. How did he get out of the situation?

Everything is simple, France invited to create images of hunters Jansens, Jordaens and other acquaintances of the guild of masters.

Thus, we see that the painting of the 17th century in Flanders reflects the heterogeneous stage of transition from previous techniques and views. He did not go as smoothly as in Italy, but gave the world quite 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 the live scenes from life, but also the rudiments 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 portraitist, but nevertheless became almost the best in the transfer of character in the picture. So, one of his main series - "Bean King's Feast" - is based on illustrating folklore, folk tales, jokes and sayings. These canvases depict a crowded, merry, bubbling life of the 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 affected 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 canvases. However, it was better for Jacob to create in the technique of tenerity and chiaroscuro.

If you look at the masterpieces of Jordaens, compare them with the works of Peter Paul, we will see the apparent influence of the latter. But Jacob's canvases are characterized by warmer colors, freedom and gentleness.

Peter Rubens

Discussing the masterpieces of Flemish painting, one can not fail to mention Rubens. Peter Paul even during his lifetime was a recognized master. 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 because of his father's antics in his youth. Soon after the death of the parent their reputation is restored, and Rubens and his mother return to Antwerp.

Here the young man quickly acquires the necessary connections, it is made by the page of the Countess de Lalen. In addition, Peter Paul meets Tobias, Verkhaht, 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 works of Horace, and also was an expert and connoisseur of the Italian Renaissance. These features of his personality van Veer and gave the young artist.

After four years of training, Otto Rubens is admitted to the guild association of artists, engravers and sculptors under the name of the "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 studied and copied the best masterpieces of this era.

Not surprisingly, the paintings of Flemish artists with their features resemble the technique of some Italian masters of the Renaissance.

In Italy, Rubens lived and worked under the famous patron and collector Vincenzo Gonzaga. This period of his work, the researchers called Mantua, because in this town was the estate of the patron Peter Paul.

But the provincial place and Gonzaga's desire to use it did not please Rubens. In the letter, he writes that with the same success Vicenza could use the services of portrait painters and artisans. 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 gratification he received at the Brussels court allowed him to live on a broad foot, to have a large workshop, a lot of apprentices.

In addition, Peter Paul retained relations with the Order of the Jesuits, who were brought up in childhood. From them, he receives orders for the interior of the Antwerp church of St. Charles Borromei. Here he is helped by the best student - Anton van Dijk, which we will talk about further.

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 depicted the life of the 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", "Hunting the Hippo", "Abduction of the Daughters of Leucippus".

Rubens had such a strong influence on Western European painting, that in 1843 on the Green Square in Antwerp, he was put a monument.

Anton van Dyck

The court portraitist, the master of mythical and religious subjects in painting, the artist of the Baroque style - all these are the characteristics of Anton van Dyck, the best pupil of Peter Paul Rubens.

The techniques of painting of this master were formed during the training at Hendrik van Baalen, to whom he was given an apprentice. It was the years spent in the workshop of this painter that enabled Anton to quickly gain local fame.

At the age of fourteen he wrote the first masterpiece, at the age of fifteen he opened his first studio. So at a young age, Van Dyck becomes an Antwerp celebrity.

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

The art of painting by Anton van Dyck was more focused on religious themes. He writes in his studio Rubens his famous paintings "Crowning the crown" and "Kiss of Judas."

Since 1621 the period of travel begins. First, the young artist works in London, under King Jacob, after traveling to Italy. In 1632, Anton returned to London, where Charles I consecrated 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, have learned about Flemish painting. You got an idea about the history of its formation and the technique of creating canvases. In addition, we met briefly with the greatest Dutch masters of this period.