Canvas of Commerce
An exploration of the Italianate visions of Peeter van Bredael, a Flemish master of the bustling market and idyllic landscape.
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The Life of a Master
Early Life and Apprenticeship
Peeter van Bredael was born into the vibrant artistic world of 17th-century Antwerp, baptized on 19 July 1629. His formal artistic education commenced on 20 January 1640, when he entered the workshop of the esteemed painter David Ryckaert III. This four-year apprenticeship would have provided him with a solid foundation in the techniques and thematic conventions of the Flemish school.
Travels and Italianate Influence
Following his training, van Bredael embarked on travels abroad, a common practice for ambitious artists of his era. While a journey to Spain is documented, his connection to Italy is more nuanced. Although direct evidence of a stay in Italy is lacking, his canvases are frequently populated with evocative ruins of Roman architecture. This strongly suggests he either visited Italy or was profoundly influenced by the works of artists who had, absorbing the Italianate style that became a hallmark of his landscapes.
Career in Antwerp
Upon returning to Antwerp around 1648, van Bredael established himself both personally and professionally. He married Anna Maria Veldener, daughter of the prominent sculptor Jenijn Veldener. By 1651, he achieved a significant career milestone by becoming a master in the prestigious Antwerp Guild of Saint Luke, allowing him to take on pupils and operate his own workshop. His standing in the community was further solidified by his involvement in a local civil militia (a ''schutterij''), where he attained the rank of captain.
Artistic Oeuvre
Signature Market Scenes
Van Bredael is principally celebrated for his specialization in bustling market scenes and lively village feasts. His most characteristic works depict Roman cattle markets set amidst sprawling landscapes. These compositions are masterfully orchestrated, filled with figures, animals, and architectural elements, often featuring the romantic ruins of Classical Antiquity. Through these imaginative scenes, he captured the multifaceted energy of everyday urban and pastoral life.
Genre and Thematic Diversity
While market scenes were his forte, van Bredael's thematic range extended further. He produced genre paintings depicting village festivals and processions, capturing the communal spirit of his time. A notable example of his diverse interests is a painting of a ''commedia dellโarte'' scene, demonstrating his engagement with theatrical culture. Less frequently, he also ventured into the genre of battle pieces, showcasing his versatility as a painter.
The Art of the Copyist
In the 17th-century art world, copying the works of renowned masters was a respected practice for both training and commercial purposes. Van Bredael was a skilled copyist, and he is known to have reproduced battle scenes by the highly successful Dutch painter Philips Wouwerman. An extant drawing of an ''Equestrian Battle'', housed in the Mauritshuis, is attributed to van Bredael as a copy after Wouwerman, highlighting his technical proficiency and his study of other masters.
An Artistic Dynasty
The Patriarch of a Painting Family
Peeter van Bredael's most enduring legacy, beyond his own body of work, was the establishment of a multi-generational artistic dynasty. He and his wife, Anna Maria Veldener, had eight children, and he passed his artistic talents and profession on to the next generation. This continuation of the family workshop was a common and vital aspect of the art world in the Low Countries.
Master and Pupils
The Workshop of van Bredael
As a master in the Guild of Saint Luke, Peeter van Bredael was entitled to train apprentices in his workshop. His role as an educator was crucial for the transmission of artistic knowledge and style. His pupils included not only members of his own family but also other aspiring artists who sought to learn from his expertise in landscape and genre painting.
His known pupils are:
- His three sons: Jan Peeter, Joris, and Alexander.
- Hendrik Frans van Lint, who would become a notable painter in his own right.
- Ferdinandus Hofmans.
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References
References
- Peter van Bredael in: Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen, 1883, pp. 1629รขยย1631 (in Dutch)
- Armelle Baron, Pierre Baron, L'art dentaire รย travers la peinture, www.acr-edition.com, 1 Jan 1986, p. 232 (in French)
- Cornelis de Bie, Het Gulden Cabinet, p 381 (in Dutch)
- Walther Bernt, The Netherlandish painters of the seventeenth century, Volume 1, Phaidon, 1970, p. 19
- Annemarie Stefes , Niederlรยคndische Zeichnungen 1450-1800: Tafeln, Bรยถhlau Verlag, Kรยถln Weimar, 2011, p. 140 (in German)
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