Et in Italia ego: Dutch and Flemish Landscape Painters from the Brukenthal National Museum
Sanda Marta
Cuvinte cheie: Muzeul Naţional Brukenthal, Italia, pictură flamandă, pictură olandeză, peisagist flamand italienizant, peisagist olandez italienizant
Keywords: The Brukenthal National Museum, Italy, Flemish painting, Dutch painting, Flemish Italianate landscape painter, Dutch Italianate landscape painter
La sfîrşitul secolului XVI, dar mai pregnant în prima jumătate a secolului XVII, un grup de pictori din Ţările de Jos au lucrat în Italia unde s-au dovedit a fi receptivi la modelele stilistice noi şi reprezentările cu imagini italienizante. Aceşti pictori au dezvoltat un nou gen de peisaj caracterizat prin lumina şi culorile sudului, prin forme de relief specifice, imagini ale oraşelor, monumentelor antice, ruine etc., elemente pe care le-au asimilat în timpul petrecut în Cetatea eternă. Subiectele, unele inspirate din opera lui Virgiliu, cu jocuri sau ocupaţii pastorale, vegetaţie abundentă, dar şi ecleraj particular, creator de atmosferă idealizată, au fost grefate pe vechile structuri tradiţionale ale picturii flamande şi olandeze. Chiar şi după revenirea lor din Italia aceşti artişti şi-au păstrat interesul pentru subiecte italienizante pe care le-au transmis mai departe. Printre cei mai reprezentativi pictori flamanzi şi olandezi care au călătorit în Italia s-au numărat: Jodocus de Momper, Cornelis van Poelenburg, Guilliam de Heusch, Jan Asselyn, Jan Both, Jan Baptist Weenix, Pieter van Laer şi Pieter van Bredael.
The study Et in Italia ego: Dutch and Flemish Landscape Paintersfrom the Brukenthal NationalMuseum deals with the special interest painters from the Low Countries had for the sunny areas of Italy, an epitome of delight and careless living in a utopian Arcadia, for which the real land of Italy became a pattern.
At the end of the 16th century, but mostly in the first half of the 17th century a group of painters from the Low Countries worked in Italy where they turned to be receptive to the new stylistic patterns and to the representation of the Italian images. Those artists developed a special form of landscape painting that was characterized by the light and colours of the south, by the specific landscape formations, views of cities, depictions of ancient monuments, ruins, elements they assimilated while being in the Eternal city. Their subjects, some of them inspired from Virgil’s oeuvre with games and pastoral activities, rich vegetation and particular chiaroscuro that created an idealized atmosphere, all those had been grafted on the traditional models of the Dutch and Flemish painting. Even after their return from Italy, those artists kept on their interest for the Italian subjects that later on they handed on to the followers.
The Brukenthal National Museum owns representative paintings that belong to Cornelis van Poelenburg, Guilliam de Heusch, Jan Asselyn, Jan Both, Jan Baptist Weenix, Pieter van Laer, Jan Lingelbach, Nicolaes Berchem, Lieve Verschuur, Pieter van Bredael and thus the study is an opportunity for the lecturer to learn about an exquisite selection of landscape paintings.