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 Joos de Momper II (1564-1635) attributed- riders in a landscape
 Joos de Momper II (1564-1635) attributed- riders in a landscape - Paintings & Drawings Style Louis XIII  Joos de Momper II (1564-1635) attributed- riders in a landscape -  Joos de Momper II (1564-1635) attributed- riders in a landscape - Louis XIII Antiquités -  Joos de Momper II (1564-1635) attributed- riders in a landscape
Ref : 53866
SOLD
Period :
17th century
Provenance :
Private collection
Medium :
Oil on canvas
Dimensions :
L. 27.56 inch X l. 20.08 inch
Paintings & Drawings  -  Joos de Momper II (1564-1635) attributed- riders in a landscape 17th century -  Joos de Momper II (1564-1635) attributed- riders in a landscape Louis XIII -  Joos de Momper II (1564-1635) attributed- riders in a landscape Antiquités -  Joos de Momper II (1564-1635) attributed- riders in a landscape
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Joos de Momper II (1564-1635) attributed- riders in a landscape

Canvas of 54 cm by 35 cm; under 70 cm by 51 cm
old-relining restorations.

Implementation report; landscape cave exposed in Bonn Rheinisches museum.

Joos de Momper II (Antwerp 1564 - id. 1635)

It belongs to a family of painters, the first, in January I worked in Bruges in the sixteenth. Pupil of his father Bartholomaeus, Joos de Momper enrolled in the guild since 1581 and became dean in 1611. After 1581, until 1591 when he took pupils, he probably traveled to Italy, which is reflected his bill, free and vigorous, like Tintoretto disciple Toeput PozzoserratoI.
It gradually overcomes the Renaissance the scenic conventions, including Bruegel, which he first influenced. His first known works, inspired by alpine sites such as Mountainous Landscape (Bruxelles MRBA) of the same character: oblique flight of the space between "scenes" staged in successive plans to suggest the depth of division in 3 color tones , strong color contrasts in the foreground, while the distant blend in a bluish light.
Continuing its luminists research, modeling and securely by violent forms of light and shadow contrasts, visible in the landscape with waterfall (Dresden), the Monogram IDM is probably his, he turned to a greater chromatic unit ( Holy Mass in a cave museum Aschaffenburg). Our table corresponds to this.
At the end of his career is a general tone that ensures the unity of the plans. Space is no longer dug diagonally, and the scenes have disappeared. The themes are transformed: the vast plains of the North appear and Italian landscapes. These have assumed a new residence in the peninsula, especially as the bill itself has changed, either consisting of nerve touches, but close to smear the latest way to Paul Bril.
Located between Bruegel and Rubens, he announces the dynamic and lyrical conception of space, Joos de Momper foreshadows a "baroque" vision of the Flemish ornamental landscape. It not only influence his son Frans Philips I or nephew, but both David Teniers and T. Verhaecht, the master of Rubens.
prolific painter, is represented in all major world museums: the Hermitage, Chicago, Munich, Hamburg, Kassel, Dresden, Vienna, Copenhagen, Douai, Nancy, the Louvre and many more ...

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CATALOGUE

17th Century Oil Painting Louis XIII