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Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to
Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to - Paintings & Drawings Style Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to - Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to -
Ref : 58668
SOLD
Period :
18th century
Dimensions :
L. 38.58 inch X l. 28.35 inch
Paintings & Drawings  - Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to 18th century - Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to  - Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to
Galerie William Diximus

Furniture and objets d'art of the 18th and 19th centuries


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Jan frans van Bloemen (Anvers 1662- Rome 1749) attributed to

Oil on canvas, attributed to van Bloemen

This work, which you can view in our gallery, has a certificate of authenticity from Professor Emilio Negro obtained via S. Stefano, Bologna (Italy), a specialist in 17th century Italian paintings. This piece is very similar to "La veduta dell'ansa del tevere dai colli della farnesina", which dates back to 1735 in Rome and is part of the Montedison collection.
Jan Frans van Bloemen (Antwerp, 1662 - Rome, 1749)

A member of a prominent family from the Antwerp region, van Bloemen moved to Rome with his two brothers, who were also painters. The best-known of the three, Jan owed his reputation and his success with Rome's aristocracy to his sumptuous landscapes of the Italian countryside.
His paintings were inspired by great masters such as Claude le Lorrain and Gaspard Dughet.
Van Bloemen's technique earned him the nickname "L'orizonte" ('The Horizon'). He produced idyllic paintings of Roman landscapes which blended mountains, forests, streams and soothing skies.
He was commissioned for many paintings by members of the Italian aristocracy, such as Duke Rospigliosi and Prince Ruspoli ("View of Vignanello") and his works decorated places such as the Pitti Palace in Florence.
Related works:
Museums in Florence and Rome. In France, L'orozinte's works are on display in museums in Dijon, Fontainebleau and Paris (The Louvre).
bilbliographie: Fonti e Bibl.: Roma, Bibl. Apost. Vaticana, Bibl. Capponi, ms. 257: N. Pio, Vite dei pittori,scultori ed architetti…, Roma 1724, pp. 124, 125; L. Pascoli, Gianfrancesco Vamblommen, in W. Bombe, Eine unedierte Lebensbeschreibung des Malers J. F. van Bloemen, in Rep. für Kunstwiss., XLVI (1925), pp. 236-242 (commento, traduzione tedesca e note, pp. 230-236); L. Lanzi, Storia pittorica della Italia, Bassano 1809, II, p. 225; S. Ticozzi, Diz. degli architetti,scultori,pittori…, Milano 1818, p. 50; P. Zani, Encicl. metodica... delle Belle Arti, I, 4, Parma 1820, p. 95; G. J. Hoogewerff, Bescheiden in Italie..., II, 's.-Gravenhage 1913, pp. 84, 90, 125; J. A. F. Orbaan, Virtuosi al Pantheon. Archivalische Beitrage…, in Rep. für Kunstwiss., XXXVII (1914), pp. 50, 51; G. Biasiotti, Benedetto XIV e il Casino... del Quirinale, in Illustrazione Vaticana, III (1932), pp. 142-146 passim; R. Buscaroli, La pittura di paesaggio in Italia,
Bartolomeo Schedoni, Pittore e scultore 1578-1615: Negro Emilio, Roio Nicosetta Edité par Poligrafico Artioli, 2002
ARTE EMILIANA DALLE RACCOLTE STORICHE AL NUOVO COLLEZIONISMO.:Graziano Manni, Emilio Negro, Massimo Pirondini, a cura di Edité par Artioli editore, Modena, 1989

Galerie William Diximus

CATALOGUE

18th Century Oil Painting