Flemish Baroque painting
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| - | The '''Renaissance in the Low Countries''' is the cultural period that roughly corresponds to the 16th century in the [[Low Countries]]. In 1500 the [[Seventeen Provinces]] were in a personal union under the [[Burgundian Netherlands|Burgundian Dukes]], and with the [[County of Flanders|Flemish]] cities as centers of gravity, culturally and economically formed one of the richest parts of Europe. During the course of the century the region also experienced significant changes. The union with [[Spanish empire|Spain]] under [[Charles V, Holy Roman Emperor|Charles V]], [[Renaissance humanism|Humanism]] and [[Protestant Reformation|Reformation]] led to a rebellion against the Spanish rule and the start of the [[Eighty Years' War|religious war]]. By the end of the 16th century the northern and southern Netherlands were effectively split. While this fracture was reflected in the visual arts by the [[Dutch Golden Age painting|Dutch Golden Age]] in the north and the [[Flemish Baroque painting|Flemish Baroque]] in the south, other areas of thought remained associated with 16th century currents of [[Renaissance]] thought. Gradually, the balance of power shifted away from the [[Southern Netherlands]], which remained under Spanish authority, to the emerging [[Dutch Republic]]. | + | '''Flemish Baroque painting''' is the art produced in the [[Southern Netherlands]] between about 1585, when the [[Dutch Republic]] was split from the [[Habsburg Spain]] regions to the south by the recapturing of [[Antwerp]] by the Spanish, until about 1700, when Habsburg authority ended with the death of [[Charles II of Spain|King Charles II]]. Antwerp, home to the prominent artists [[Peter Paul Rubens]], [[Anthony van Dyck]], and [[Jacob Jordaens]], was the artistic nexus, while other notable cities include [[Brussels]] and [[Ghent]]. |
| + | Rubens, in particular, had a strong influence on seventeenth-century visual culture. His innovations helped define Antwerp as one of Europe's major artistic cities, especially for [[Counter Reformation]] imagery, and his student Van Dyck was instrumental in establishing new directions in English portraiture. Other developments in Flemish [[Baroque]] painting are similar to those found in [[Dutch Golden Age painting]], with artists specializing in such areas as [[history painting]], [[portraiture]], [[genre painting]], [[landscape painting]], and [[still life]]. | ||
| + | ==General characteristics== | ||
| + | "Flemish", in the context of this and artistic periods such as [[Flemish Primitives]], often includes the regions not associated with modern [[Flanders]], including the [[Duchy of Brabant]] and the autonomous [[Prince-Bishopric of Liège]]. By the seventeenth-century, however, Antwerp was the main city for innovative artistic production, largely due to the presence of Rubens. Brussels was important as the location of the court, attracting [[David Teniers the Younger]] later in the century. | ||
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| + | [[Image:Frans Hogenberg Bildersturm 1566.jpg|thumb|left|Frans Hogenberg, The Calvinist [[beeldenstorm|Iconoclastic Riot of August 20, 1566]] when many paintings and church decorations were destroyed and subsequently replaced by late [[Northern Mannerist]] and Baroque artists.]] | ||
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Revision as of 17:50, 14 October 2009
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Flemish Baroque painting is the art produced in the Southern Netherlands between about 1585, when the Dutch Republic was split from the Habsburg Spain regions to the south by the recapturing of Antwerp by the Spanish, until about 1700, when Habsburg authority ended with the death of King Charles II. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens, was the artistic nexus, while other notable cities include Brussels and Ghent.
Rubens, in particular, had a strong influence on seventeenth-century visual culture. His innovations helped define Antwerp as one of Europe's major artistic cities, especially for Counter Reformation imagery, and his student Van Dyck was instrumental in establishing new directions in English portraiture. Other developments in Flemish Baroque painting are similar to those found in Dutch Golden Age painting, with artists specializing in such areas as history painting, portraiture, genre painting, landscape painting, and still life.
General characteristics
"Flemish", in the context of this and artistic periods such as Flemish Primitives, often includes the regions not associated with modern Flanders, including the Duchy of Brabant and the autonomous Prince-Bishopric of Liège. By the seventeenth-century, however, Antwerp was the main city for innovative artistic production, largely due to the presence of Rubens. Brussels was important as the location of the court, attracting David Teniers the Younger later in the century.
