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Joos II of Momper (1564-1635) attributed - Animated landscape
Joos II of Momper (1564-1635) attributed - Animated landscape  - Paintings & Drawings Style Joos II of Momper (1564-1635) attributed - Animated landscape  - Joos II of Momper (1564-1635) attributed - Animated landscape  -
Ref : 79401
8 800 €
Period :
<= 16th century
Provenance :
Medium :
Oil on canvas
Dimensions :
L. 22.83 inch X l. 18.9 inch
Paintings & Drawings  - Joos II of Momper (1564-1635) attributed - Animated landscape <= 16th century - Joos II of Momper (1564-1635) attributed - Animated landscape  - Joos II of Momper (1564-1635) attributed - Animated landscape
Galerie PhC

Ancient paintings

+33 (0)6 62 09 89 00
+33 (0)6 62 09 89 00
Joos II of Momper (1564-1635) attributed - Animated landscape

Canvas 42 cm by 34 cm;
Magnificent sculpted frame of time of 58 cm by 48 cm

The artist certainly asked another painter to participate in this painting especially for the characters, as he often did. We know him of numerous collaborations, notably with his son Philips, H Van Balen, Jan Brueghel the elder, the Frankens, T Verhaest ...

Joos II of Momper (Antwerp 1564 - 1635)

He belongs to a family of painters the first of which, Jan I, worked in Bruges in the 16th century. Pupil of his father Bartholomaeus, Joos de Momper joined the gild in 1581 and became dean in 1611. After 1581, before 1591, the date on which he took students, he probably made the trip to Italy, which reflects his invoice, free and energetic, like the disciple of Tintoretto, Toeput PozzoserratoI. He gradually freed himself from the conventions of the panoramic landscape of the Renaissance, notably from Bruegel, whose influence he first suffered. His first known works, inspired by alpine sites, such as the Mountainous Landscape (Brussels MrbA) present the same characters: oblique flight of space between "backstage" stepped in successive planes to suggest depth, division of the color into 3 tones , strong color oppositions in the foreground, while the distant ones blend into a bluish light. Continuing his luminist research, and solidly modeling the forms by violent contrasts of light and shadow, visible in the Landscape with waterfall (Dresden), he is moving towards a greater chromatic unity (the Holy Mass in a cave, museum Aschaffenburg). At the end of his career, it is a general tone which ensures the unity of the plans. The space is no longer dug diagonally, and the wings have disappeared. The themes are transformed: the vast plains of the North appear as well as Italian landscapes. The latter have suggested a new stay on the peninsula, especially since the bill itself has changed, no longer consisting of nervous touches, but smears close to the last way of Paul Bril. Located between Bruegel and Rubens, whose dynamic and lyrical conception of space he announces, Joos de Momper lets us foresee a "baroque" vision of the Flemish decorative landscape. He will not only influence his son Philips I or his nephew Frans, but also the two David Téniers and T. Verhaecht, the master of Rubens. A fertile painter, he is represented in all the major museums in the world: the Hermitage, Chicago, Munich, Hamburg, Kassel, Dresden, Vienna, Copenhagen, Douai, Nancy, the Louvre and many others ...

Galerie PhC


16th century Oil Painting