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References
Sources
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Blanchard, Henri Pierre Léon Pharamond". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
Philips Wouwerman (also Wouwermans) (24 May 1619 (baptized) – 19 May 1668) was a Dutch painter of hunting, landscape and battle scenes. He became prolific during the Dutch Golden Age and joined the Haarlem Guild of St. Luke.
Life and work
Philips Wouwerman was one of the most versatile and prolific artists of the Dutch Golden Age. Embedded in the artistic environment and tradition of his home town of Haarlem, Wouwerman made an important and highly influential contribution to the canon of seventeenth-century Dutch painting. His pictures were in demand during his lifetime, and even more sought after in the 18th century. Throughout Europe, formerly princely art collections like in Dresden and St. Petersburg still bear witness to this widespread admiration of Wouwerman's art.
Born in Haarlem in 1619, the son of a now altogether obscure painter named Pouwels Joostsz Wouwerman, little is known of his artistic schooling. According to Cornelis de Bie, he studied with Frans Hals (1581/85–1666), but the particular style of Hals didn't leave a footmark on his oeuvre. Apart from a short stay in Hamburg at the end of the 1630s, Wouwerman seemed to have lived in Haarlem during his whole artistic career and died as a prosperous member of the community at the age of 48. He joined the Haarlem Guild of St. Luke in 1640 and here took on several official posts in the years to come. Wouwerman also worked as an estate agent in his home town, as many documents in Haarlem archives mentioned the artist in this context.
Wouwerman started his artistic career with simple depictions of everyday life in the tradition of the bamboccianti by Pieter van Laer (1592/99–after 1642). His paintings of the mid-1640s often feature a diagonal slope of land, a tree which functions as a repoussoir, and figures accompanied by horses. Over the next thirty years he developed an individual style, treating a wide range of subjects from genre and landscape to military and religious scenes (equestrian scenes, hunting and hawking parties, landscapes with travellers, cavalry battles and military encampments, peasants festivities etc.). He is noted for his skill in the depiction of horses of all breeds seen in motion. The art historian Frederik J. Duparc calls Wouwerman "undoubtedly the most accomplished and successful 17th-century Dutch painter of horses". The masterpieces from his best period (around 1650–1660) are of indisputably high quality, beautifully combining imaginary southern landscapes and a typically Dutch atmosphere. Wouwerman's paintings are characterized by subdued colours, a cool atmosphere and a wealth of witty, anecdotal details. He died in Haarlem.
The first retrospective exhibition of Philips Wouwerman's work took place in Kassel, Gemäldegalerie Alte Meister, and in The Hague, The Royal Picture Gallers Mauritshuis, 2009/2010.
Family
At an early age, Wouwerman married Anna Pietersz. van Broeckhoff with whom he had ten children. They lived on the Bakenessergracht in a house that was also lived in by Haarlem painters Cornelis Gerritsz Decker and Hendrik de Meijer. Seven of the Wouwerman children survived and, after the death of their mother in 1670, accepted a substantial inheritance.
Output
About 800 pictures were listed in John Smith's Catalogue raisonné (1829/1842) as the work of Philip Wouwerman. In Hofstede de Groot's enlarged Catalogue (1908) the number exceeds to 1200. In Birgit Schumacher's recently published Catalogue raisonné (2006), only about 570 pictures were listed as authentic works, as many of the pictures mentioned by Hofstede de Groot were actually painted by countless followers and imitators all over Europe. Jan and Pieter Wouwerman, the younger brothers of Philips, were often regarded as close followers whose pictures seemed to have been frequently attributed to Philips.
The oeuvre of Pieter (1623–1682) clearly manifests the influence of Philips with regard to the range of subjects, but regarding the artistic style, Pieter had quite one of his own. And Jan (1629–1666) was a rather autonomous landscape painter. Out of the countless followers, some of the most gifted artists working in Wouwerman's style are worth mentioning: Jan van Huchtenburgh (1647–1733), the brothers Jan Frans (1683–1750) and Joseph van Bredael (1688–1739) as well as Carel van Falens (1683–1733).
His registered pupils were Johannes van der Bent, Hendrick Berckman, Eduard Dubois, Nicolas Ficke, Barent Gael, Anthony de Haen, Emanuel Murant, Matthias Scheits, Kort Withold, and his brothers.
Selected works
The White Horse, panel, 43.9 x 37.6 cm, Amsterdam, Rijksmuseum
Horse and Dismounted Rider, panel, 32.3 x 36.2 cm, 1646, Leipzig, Museum der bildenden Künste
Landscape with River and Bathers, canvas, 59 x 82 cm, Vaduz-Vienna, The Collections of the Prince of Liechtenstein
Festive Peasants in an Extensive Landscape, canvas, 70 x 112 cm, 1653, Minneapolis, The Minneapolis Institute of Arts
Winter Landscape with Wooden Bridge, panel, 28.5 x 36.5 cm, Berlin, Staatliche Museen, Gemäldegalerie
A Horse Stable, canvas, 47 x 67 cm, London, The National Gallery
The Rider's Halting Place, panel, 35.4 x 30.7 cm, Antwerp, Royal Museum of Fine Arts
The Apple Grey at a Blacksmith, panel, 34.4. x 38.3 cm, Kassel, Gemäldegalerie Alte Meister
Riding School and Watering Place, canvas, 82.5 x 127 cm, Vienna, Kunsthistorisches Museum
Departure for the Hunt, panel, 45 x 64 cm, Dresden, Gemäldegalerie Alte Meister
Landscape with a Hawking Party, canvas, 76 x 105 cm, Madrid, Museo Nacional del Prado
Battle at a Mountainous Fortress, canvas, 69 x 82 cm, Dresden, Gemäldegalerie Alte Meister
Cavalry at a Sutler's Booth, panel, 49.5 x 44.4 cm, London, Her Majesty Queen Elizabeth II., Buckingham Palace
Lady and Gentleman at a Harbour, canvas, 51 x 71.3 cm, St Petersburg, The State Hermitage
The Ascension of Christ, canvas, 85 x 68 cm, Brunswick, Herzog Anton Ulrich-Museum
References
Attribution
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Wouwerman, Philip". Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. p. 838.
Further reading
Philips Wouwerman (1619-1668). Exhibition Catalogue, Museumslandschaft Hessen Kassel/ Royal Picture Gallery Mauritshuis, The Hague, 2009/2010, ISBN 978-90-400-8592-5
Birgit Schumacher, Philips Wouwerman. The Horse Painter of the Golden Age, Davaco Publishers, Doornspijk 2006, ISBN 90-70288-67-2
Frederik J. Duparc, "Philips Wouwerman, 1619-1668", in: Oud Holland, 1993, vol. 107, no. 3, pp. 257–286
Birgit Schumacher, Studien zu Werk und Wirkung Philips Wouwermans', Diss. Munich 1989
Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, vol. 2, Esslingen and Paris 1908 (Reprint: Teaneck, NJ: Somerset House, 1976; A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 2)
John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, vol. 1, pp. 199–412 and vol. 9, pp. 137–233, London 1829 and 1842
External links
Media related to Philips Wouwerman at Wikimedia Commons
103 artworks by or after Philips Wouwerman at the Art UK site
www.wouwerman.org Works by Philips Wouwerman
www.birgitschumacher.com Information on the catalogue raisonné of the paintings by Philips Wouwerman
Works and literature
Piero della Francesca ( PYAIR-oh DEL-ə fran-CHESK-ə, US also -⁠ frahn-; Italian: [ˈpjɛːro della franˈtʃeska] ; né Piero di Benedetto; c. 1415 – 12 October 1492) was an Italian painter, mathematician and geometer of the Early Renaissance, nowadays chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the Basilica of San Francesco in the Tuscan town of Arezzo.
Biography
Early years
Piero was born Piero di Benedetto in the town of Borgo Santo Sepolcro, modern-day Tuscany, to Benedetto de' Franceschi, a tradesman, and Romana di Perino da Monterchi, members of the Florentine and Tuscan Franceschi noble family. His father died before his birth, and he was called Piero della Francesca after his mother, who was referred to as "la Francesca" due to her marriage into the Franceschi family (similar to Lisa Gherardini who was known as "la Gioconda" through her marriage into the Giocondo family). Romana supported his education in mathematics and art.
He was most probably apprenticed to the local painter Antonio di Giovanni d'Anghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. He certainly took notice of the work of some of the Sienese artists active in San Sepolcro during his youth; e.g. Sassetta. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of Sant'Egidio in Florence, now lost. In Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello, and Brunelleschi. The classicism of Masaccio's frescoes and his majestic figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Piero's undocumented work is difficult because his style does not seem to have developed over the years.
Mature work
Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro. Three years later, he received his first commission, to paint the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro, which was completed in the early 1460s. In 1449 he executed several frescoes in the Castello Estense and the church of Sant'Andrea of Ferrara, now also lost. His influence was particularly strong in the later Ferrarese allegorical works of Cosimo Tura.
The Baptism of Christ, now in the National Gallery in London, was completed in about 1450 for the high altar of the church of the Priory of S. Giovanni Battista at Sansepolcro. Other notable works are the frescoes of The Resurrection in Sansepolcro, and the Madonna del parto in Monterchi, near Sansepolcro.
Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta. In 1451, during that sojourn, he executed the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta in the Tempio Malatestiano, as well as a portrait of Sigismondo. In Rimini, Piero may have met the famous Renaissance mathematician and architect Leon Battista Alberti, who had redesigned the Tempio Malatestiano, although it is known that Alberti directed the execution of his designs for the church by correspondence with his building supervisor. Thereafter Piero was active in Ancona, Pesaro and Bologna.
In 1454, he signed a contract for the Polyptych of Saint Augustine in the church of Sant'Agostino in Sansepolcro. The central panel of this polyptych is lost, and the four panels of the wings, with representations of saints, are now scattered around the world. A few years later, summoned by Pope Nicholas V, he moved to Rome, where he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, painting frescoes in the Vatican Palace, which have since been destroyed.
Frescoes in San Francesco at Arezzo
In 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished in 1464.
The History of the True Cross cycle of frescoes is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from legendary medieval sources as to how timber relics of the True Cross came to be found. These stories were collected in the Golden Legend of Jacopo da Varazze (Jacopo da Varagine) of the mid-13th century.
Piero's activity in Urbino
At some point, Giovanni Santi invited Piero to Urbino, where Piero "executed several commissions for Duke Federico da Montefeltro." The Flagellation is generally considered Piero's oldest work in Urbino (c. 1455–1470). It is one of the most famous and controversial pictures of the early Renaissance. As discussed in its own entry, it is marked by an air of geometric sobriety, in addition to presenting a perplexing enigma as to the nature of the three men standing at the foreground.
Another famous work painted in Urbino is the Double Portrait of Federico and his wife Battista Sforza, in the Uffizi. The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Federico and his wife. Other paintings made in Urbino are the monumental Montefeltro Altarpiece (1474) in the Brera Gallery in Milan and the Madonna of Senigallia.
In Urbino Piero met the painters Melozzo da Forlì, Fra Carnevale, and the Flemish Justus van Gent, the mathematician Fra Luca Pacioli, the architect Francesco di Giorgio Martini, and probably also Leon Battista Alberti.
Later years
In his later years, painters such as Perugino and Luca Signorelli frequently visited his workshop. He completed the treatise On Perspective in Painting in the mid-1470s to 1480s. By 1480, his vision began to deteriorate, but he continued writing treatises such as Short Book on the Five Regular Solids in 1485. It is documented that Piero rented a house in Rimini in 1482. Piero made his will in 1487 and he died five years later, on 12 October 1492, in his own house in Sansepolcro. He left his possessions to his family and the church.
Criticism and interpretation
In a 2013 exhibition, the Frick Collection in New York collected seven of the eight paintings of Piero known to exist in the United States. Of the seven paintings in the exhibit, critic Jerry Saltz writing in New York magazine singled out Piero's Virgin and Child Enthroned With Four Angels for its exemplary qualities.
Saltz wrote, "The Virgin and child are elevated two steps. They are in a world itself apart from this world apart. Mary isn't looking at her child and looks instead at the rose he reaches for. You begin to glean the revelation she is having. The flower represents love, devotion, and beauty. It also symbolizes blood and the crown of thorns Christ will wear. This child who will suffer a horrendous death reaches for his acceptance of fate. Mary does not pull the flower back. You sense an inner agony, noticing her deep-blue robe open to reveal scarlet beneath, symbol of outward passion and pain to come. In the dead-center vertical line of the painting is Christ's right palm that will be nailed to the cross."
By contrast, Walter Kaiser, reviewing the exhibition in The New York Review of Books, wrote, "The most splendid picture in the Frick exhibition is the magnificent figure of Saint Augustine from the Museu Nacional de Arte Antiga in Lisbon, a companion to Saint John the Evangelist [owned by the Frick Collection] on the Sant'Agostino altarpiece".
Work in mathematics and geometry
Piero's deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work.
In his youth, Piero was trained in mathematics, which most likely was for mercantilism. Three treatises written by Piero have survived to the present day: Trattato d'Abaco (Abacus Treatise), De quinque corporibus regularibus (On the Five Regular Solids) and De Prospectiva pingendi (On Perspective in painting). The subjects covered in these writings include arithmetic, algebra, geometry and innovative work in both solid geometry and perspective. Much of Piero's work was later absorbed into the writing of others, notably Luca Pacioli. Piero's work on solid geometry was translated in Pacioli's Divina proportione, a work illustrated by Leonardo da Vinci. Biographers of his patron Federico da Montefeltro of Urbino record that he was encouraged to pursue the interest in perspective which was shared by the Duke.
In the late 1450s, Piero copied and illustrated the following works of Archimedes: On the Sphere and Cylinder, Measurement of a Circle, On Conoids and Spheroids, On Spirals, On the Equilibrium of Planes, The Quadrature of the Parabola, and The Sand Reckoner. The manuscript consists of 82 folio leaves, is held in the collection of the Biblioteca Riccardiana and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano.
Inspirations
Bohuslav Martinů wrote a three movement work for orchestra entitled Les Fresques de Piero della Francesca. Dedicated to Rafael Kubelik, it was premiered by Kubelik and the Vienna Philharmonic at the 1956 Salzburg Festival.
Piero's geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like Giorgio de Chirico, Massimo Campigli, Felice Casorati, and Balthus.
Selected works