Jan Dirksz Both

Jan Both (* around 1618 in Utrecht, † August 1652 ) was a Dutch landscape painter of the early 17th century. He was one of the most influential representatives of the so-called " Dutch Italian rider " (Dutch Italianates ), mostly young, aspiring painters of the Netherlands, which were mainly in the course of the 17th century, mainly to Rome where both the testimonies of classical antiquity as to study the works of the great masters Titian, Raphael and Michelangelo. Here, the magic of the ancient ruins practiced in the hilly, sun-drenched landscape with the lush, alien vegetation from a special charm to it. Especially the warm, golden light of the southern metropolis, as opposed to the rather gray light of home, fascinated the young Northerners.

Life

During Jans first studied painting 1634-1637, probably in Gerrit van Honthorst or Abraham Bloemaert, his early development as a landscape painter showed, probably under the influence of Carel de Hooch († 1638), whose realistic landscapes an important alternative to the more traditional representations of Cornelis van Poelenburch or Bartholomeus Breenbergh formed and with the young, budding artist certainly left a lasting impression.

Together with his brother Andries, also a painter, but rather similar to those of peasant scenes Adriaen Brouwer, Jan left home and stayed in 1637 / 38-1641 in Rome. There he soon became a member of the so-called " Bamboccianti " (employee or successor from among Pieter van Laers, called il Bamboccio ) worked closely with Claude Lorrain two series of large-format landscape scenes (now Madrid, Prado ) and was, among other friends with Herman van Swanevelt. Of them, Jan took over the arrangement of his landscapes in diagonal lines to achieve a greater depth, and united his compositions with the help of that glowing golden light that was so characteristic of his entire later oeuvre, along with a naturalistic representation and the details that differ significantly from those of his fellow painters distinguished his paintings.

1641 Jan and Andries left Rome to return to Utrecht. However, Andries died on a layover in Venice in an accident. Back in Utrecht, Jan Both moved entirely to the realistic representation " italienisierter " landscapes, largely based on his Roman studies and drawings. This January is not populated his scenes as otherwise mostly normal, with mythological figures, but with real figures such as walkers, riders or herders.

Throughout his short but meaningful career Jan Both frequently collaborated with other artists. Besides the aforementioned Claude Lorrain, these primarily Cornelis van Poelenburch, Jan Baptist Weenix, Pieter Saenredam and Nicholas weavers. The choice of subjects, and the exemplary nature of the composition in January Boths were admired by many contemporaries and were a major source of inspiration for the third generation of the Dutch "Italy driver ", among them Willem de Heusch or Frederik de Moucheron. His drawing style was often copied, particularly faithfully by his pupil January Hackaert. Even such a fellow painter who could not travel to the south ( or wanted ), influenced in January Boths art often sustainable. Most significant is its effect on Aelbert Cuyp, Jan Both probably has personally met in Utrecht on his first major trip - Holland 1642. After this trip, Aelbert Cuyp's representation of light clearly changed from a rather muted, greyish -leaning atmosphere to a submerged in south - golden light scenery in brighter colors. With this unique symbiosis of a Dutch landscape through and through in a Mediterranean light Cuyp created a completely new, very long time cherished and much-copied type of landscape painting. The ' Italian ' landscapes were Boths January to the middle of the 19th century, much admired in the art world and popular. In the course of the return to the original, lifelike representation of the Dutch landscape during the late 19th and first half of the 20th century, however, they found no more attention. Only in the 1960s, Jan Both and its importance for Dutch landscape painting among other things, a study by M. R. Waddinghams was rediscovered.

Works

Images from the period of stay in Rome:

  • Festivities before the Spanish Embassy in Rome. about 1637th Stockholm, art collection.
  • Market on the Campo Vaccino after 1637th Rijksmuseum, Amsterdam.
  • Morra player below the Campidoglio. after 1637th Alte Pinakothek, Munich.

Images after returning to the Netherlands:

  • Landscape with travelers. 1640 / 41st Mauritshuis, The Hague.
  • Forest landscape with river. after 1640th National Gallery, London.
  • Rocky landscape with shepherds and mules after 1640th National Gallery, London.
  • Landscape with a draftsman. approximately in 1650. Rijksmuseum Amsterdam.

Works in collaboration with other painters:

  • With Nicholas weavers and Jan Baptist Weenix: Landscape with Mercury and Argos. about 1650-51. Alte Pinakothek, Munich.
  • The Seven Works of Mercy. about 1651st Kassel, State Art Collections Castle Wilhelm height.
  • Landscape with the Judgement of Paris. about 1651st National Gallery London.
Museo del Prado Herman van Swanevelt Allgemeine Deutsche Biographie Integrated Authority File
430209
de