A History of Art for Beginners and Students Part 9

CHAPTER IV.

PAINTING IN FLANDERS, HOLLAND, AND GERMANY.

Flanders formerly embraced a larger part of Belgium than is contained in the present Belgian provinces of East and West Flanders. It also covered a portion of Holland and some territory in the northwest of France. The princ.i.p.al Flemish towns connected with the story of Flemish art were Bruges, Tournai, Louvain, Ghent, Antwerp, Brussels, Mechlin, Liege, and Utrecht.

There are some records of Flemish painting much earlier than the fifteenth century, but they are so vague and uncertain that I shall pa.s.s them over, and begin with the family of Van Eyck, in which there were four painters--three brothers and a sister. The eldest, HUBERT VAN EYCK (1366-1426), effected a great change in the art of his time and country.

Very little is known of him as a young man, or indeed of his personal history at all, except that he pa.s.sed his middle life at Bruges and his later years at Ghent. The subjects of his pictures were mostly scriptural.

I do not suppose that the pictures of this master would seem very beautiful to you if you saw them, but they are of great value. His greatest work was an altar-piece for Judocus Vyts and his wife Lisabetta; it was for the decoration of their funeral chapel in the Church of St.

Bavon in Ghent. It was an immense work, with a centre-piece and wings that could be closed; the inside was divided into twelve different pictures, and the outside also was painted. We do not know how much of this was completed when Hubert died and left it to be finished by his brother John.

Philip I. of Spain wished to buy this altar-piece, and when he could not do so, he employed Michael c.o.xie to copy it; this artist spent two years on the work, and was paid four thousand florins. Of the original work, a large portion remains in the Church of St. Bavon; the wings, consisting of six beautiful, tall panels, are in the Berlin Museum, and two outer compartments are in the Brussels Museum. The picture of holy men who have served G.o.d is on one of the wings of this altar-piece (Fig. 53).

But the princ.i.p.al interest attached to Hubert van Eyck comes from the fact that he made such discoveries in the use of colors as led to what we call the "Invention of Oil-Painting," and this invention is always attributed to the Van Eycks, for it is probable that the discoveries of Hubert were perfected by JAN VAN EYCK (1390-1440), who became a celebrated painter.

Oil-painting had been known, it is true, a long time, but the manner of preparing the colors and the varnish used before the time of the Van Eycks was very unsatisfactory, and the improvement of these substances was the work of these masters.

The pictures of Hubert van Eyck are stronger than those of Jan, who was really the founder of a school remarkable for delicacy and fine finish rather than for power. It was after the death of Hubert that the fame of the new colors spread abroad, and thus it happened that it was to Jan that other artists went to learn his secrets.

[Ill.u.s.tration: FIG. 53.--THE ANCHORITES. _In S. Bavon at Ghent._]

Jan van Eyck was something of a diplomat as well as a painter, for when he was in the service of Philip the Good, Duke of Burgundy, he was sent on several secret missions, and in 1428 he accompanied the amba.s.sadors of the duke to Portugal in order to paint the portrait of Isabella of Portugal, who was betrothed to the duke. There is a goodly number of works by Jan van Eyck in various galleries. The portrait of himself and wife in the National Gallery, London, is very interesting; they stand hand in hand, with a terrier dog at their feet; their dress and all the details of their surroundings are painted with great care. It is said that the Princess Mary, sister of Charles V., gave a barber who owned it a position with a handsome salary in exchange for the picture. Jan van Eyck, being twenty years younger than his brother Hubert, naturally learned all that the elder knew, and the story of his life gives him the appearance of being the more important artist, though in point of highest merit he was not the superior.

Of LAMBERT VAN EYCK very little is known. It is believed that he made the copy of Hubert's great work which is in the Antwerp Museum; another work called by his name is in Louvain. MARGARETHA VAN EYCK is said to have been a skilful artist, but no one picture can be ascribed to her; she was buried beside her brother Hubert in the Cathedral of Ghent.

Of course the Van Eycks had many followers. Among them were PETRUS CHRISTUS (records 1444-1471), GERARD VAN DER MEIRE (records 1447-1474), HUGO VON DER GOES (1405?-1482), and JUSTUS OF GHENT (1468-?), all of whom were good artists, but I shall pa.s.s to a more important one, ROGIER VAN DER WEYDEN (1400-1464), who was himself the head of a school of as great importance as was that of the Van Eycks. His realism was his chief characteristic, and this was so great as to make some of his works repulsive, especially his martyrdoms, in which he detailed horrors with great exactness. He also loved to paint pictures which ill.u.s.trated the myths of the Middle Ages. Our ill.u.s.tration is from one of these works (Fig. 54).

This picture is from the story that when the Roman Senate decreed divine honors to the Emperor Augustus, he consulted the Tiburtine Sibyl as to whether he ought to receive them or no. She replied to him that it was more becoming for him to go away silently, and told him that a Hebrew child should be born who should reign over the G.o.ds themselves, or that a king should come from heaven whose power should never end. Another version, which is the one this picture represents, says that the heavens opened, and a vision of the Virgin with the Saviour in her arms, standing on an altar, was shown the emperor. He wors.h.i.+pped it, and heard a voice saying, "Haec ara filii Dei" (This is the altar of the Son of G.o.d).

Augustus reported this to the Senate, and erected an altar upon the spot in Rome where the Church of Santa Maria in Capitolio, or the "Ara Coeli," now stands.

[Ill.u.s.tration: FIG. 54.--THE SIBYL AND THE EMPEROR AUGUSTUS. _By Rogier van der Weyden. In the Berlin Museum._]

Many pictures by Van der Weyden are seen in European galleries. He was also a fine miniaturist. He was official painter to the city of Brussels, and was buried in its cathedral.

His son, ROGIER VAN DER WEYDEN the younger, became very rich and benevolent. He died at Brussels in 1529. His works are not numerous in public galleries.

The elder Van der Weyden had a pupil, HANS MEMLING (records 1450-1499), who became the greatest master in Belgium. I shall not give you a long account of him; but shall tell you of his greatest work, which was the Shrine of St. Ursula, at the Hospital of Bruges, and is the best example of this type of early Flemish art which still exists. It is divided into six compartments, with two ends, and other panels on top, all of which are finished with the greatest care, and give the whole story of St. Ursula and her eleven thousand virgins, which is that Ursula was a daughter of a king of Brittany who was a Christian. The young girl was educated with the greatest care, and the fame of her beauty and wisdom spread all over Europe. At length the king of England asked for her to be the wife of his son. The princess replied that she would wed him on three conditions: first, that he should give her ten virgins of n.o.ble blood for her companions, then to each of these virgins and to herself he should give a thousand maidens as attendants; second, he should allow her three years with these companions, with whom she should visit the shrines where the bodies of the saints repose; and third, the English king and his court should receive baptism.

I cannot give s.p.a.ce for all the details of this story, which is of great interest; but the result was that Ursula received all that she asked, and started on her journey to Rome, in the course of which she and the eleven thousand maidens met with many adventures. At last, having reached Cologne on their return, they encountered an army of barbarians which was besieging the city, and all were slain.

The subjects of the pictures as they were painted by Memling were: 1, the first landing at Cologne in the beginning of the journey; 2, the landing at Basle; 3, the arrival in Rome; 4, the second arrival at Basle on her return toward home; 5, commencement of the martyrdom, when Ursula and her train are first seen by the barbarians; 6, death of Ursula.

The works of Memling which still remain are numerous, and are seen in many public galleries. After the death of this master the purity of Flemish painting declined. Many artists visited Italy, and the manner of Flemish painters was influenced by a.s.sociation with Italian art and artists. I shall, therefore, pa.s.s over a period when no very important masters appeared, and speak next of a great man, QUINTIN MATSYS (1466-1529), who began life as a blacksmith. He was born at Antwerp, and there are specimens of iron work there said to have been executed by him. It is said that he fell in love with the daughter of an artist who refused to allow him to marry her because he was not a painter; for this reason Matsys devoted himself to the study of art, and became the best Belgian master of his time. His pictures of religious subjects are full of tender earnestness and deep feeling, and his most important work was an altar-piece which is now in the Museum of Antwerp. His scenes from common life, his misers and lovers are spirited and truthful.

His portrait and that of his second wife, both painted by himself, are in the gallery of the Uffizi in Florence. His works are not very numerous, but they are seen in the princ.i.p.al galleries. He was buried in the Cathedral of Antwerp, and a slab is inserted in the wall which tells his story; one sentence is, "_Connubialis amor de mulcibre fecit Apellene_"

(True love changed the smith to an Apelles).

Rubens is the next great master of whom I shall speak, but I wish to say that during the last part of the sixteenth century there were many Flemish painters of considerable note whose pictures are seen in galleries, and are well worth consideration, but whose lives had no circ.u.mstances of especial interest. Among the best of these artists were ANTONIO MORO, PETER POURBUS (1510-1583), and his son and grandson, both named Frans, PIETER BREUGHEL (1530-1569), and his sons Jan and Pieter the younger, and PAUL BRIL, an early Flemish landscape painter.

All the early Flemish pictures are very interesting, but in the beginning of the seventeenth century a new manner of painting was introduced through the genius of PETER PAUL RUBENS (1577-1640). This master was descended from two good families: his mother was of the distinguished family Pypeling, and his father, John Rubens, was one of the two princ.i.p.al magistrates of Antwerp. This city was the home of Rubens, although he was born at Siegen, in the county of Na.s.sau, during a time when his father was in exile on account of a civil war which was then raging. He was born June 29th, the feast of Sts. Peter and Paul, and hence was named for those apostles.

He was a bright, scholarly boy, and soon showed his love for drawing. When he began to study art under Adam van Noort he had already a good education. During the four years he pa.s.sed with this teacher he learned thoroughly all the technical part of painting; then, in another four years under Otto Vaenius, he cultivated his taste and the more poetical elements of his nature, for Vaenius was a very learned and elegant man. In 1598, when twenty-one years old, Rubens was admitted to the guild of painters in Antwerp. Two years later he went to Venice, and, after studying the works of t.i.tian and Paul Veronese there, he entered the service of the Duke of Mantua, to whom he had been recommended by the governor of the Netherlands.

While in Mantua he painted some fine pictures, and the duke sent him to Rome to copy celebrated works there. Rubens also executed some other orders in Rome, from which place he was recalled by the duke, who wished to send an envoy to Spain, and had chosen the young artist for that duty.

He showed great political ability in the way he conducted his emba.s.sy, and through his personal charms made many friends.

[Ill.u.s.tration: FIG. 55.--RUBENS AND HIS SECOND WIFE.]

After his return from Spain he went again to Rome and then to Genoa, and finally, on account of the illness of his mother, he returned to Antwerp, having been absent seven years. His mother died before he reached her. He then decided to remain in Antwerp, and built himself a fine house with a charming studio. He soon married his first wife, Isabella Brant, and during the next fifteen years led a very regular and industrious life, and executed many important works. He also received a large number of pupils into his studio, and he has been accused of allowing them to paint pictures which he called by his own name; but it is true that Rubens, with his own hand, completed pictures of almost every kind, and so proved his power as an artist.

He was fond of study, and could read and speak seven languages. He was in the habit of having some one read aloud to him while he painted, and preferred books of history and poetry. In 1620 he was invited to France by Marie de Medicis, for whom he executed many works. Among them the most important were scenes ill.u.s.trating the life of this queen which decorate some apartments in the Louvre.

In 1628 the Infanta Isabella sent him on a second mission to Spain, and while there he painted many grand and important pictures, which are fine examples of his gorgeous coloring. He proved himself so good a diplomatist that he was sent to England to try to make peace between that country and Flanders, in which he was successful. He was knighted by King Charles in 1630, and received the same honor from the king of Spain.

In 1630 he married Helena Forment, a niece of his first wife, who was but sixteen years old. She became the mother of five children; he had two sons by his first marriage, to whom Gevartius was tutor. Rubens made so many portraits of both his wives and so often used them as models in painting his large pictures, that their faces are familiar to all the world (Fig.

55).

Rubens made a valuable collection of all sorts of beautiful objects, and lived luxuriously. After his death a portion of his collection was sold at private sale for more than seventy-five thousand dollars. His death occurred in 1640, and he was buried in a private chapel in the Church of St. James in Antwerp; he had decorated this chapel with some works of his own. His family erected a monument to him, upon which an epitaph written by Gevartius was inscribed.

In painting Rubens was almost a universal genius, for he left a great variety of works as well as a great number. About one thousand eight hundred are ascribed to him: doubtless his pupils did much work on these; but there is something of himself in all. They include historical, scriptural, and mythological subjects, portraits, animals, _genre_ pictures, and landscapes. His style is a strange mingling of northern and southern elements. His handling and his arrangement of his subjects was like that of the Italians; but his figures, even when he represented Christ and the holiest men, were like Spanish kings or German peasants, or somebody whom he had seen.

We have not s.p.a.ce to speak in detail of the works of Rubens. Some critics insist that one cla.s.s of his pictures is best, and some another. Of course this depends largely upon the taste of those who make the judgment. It is certain that he was a wonderful painter, and many of his pictures give great pleasure to those who visit the galleries where they are seen.

His pictures of children were so painted that they seem to have been done from pure love of the work. His portraits are splendid, his _genre_ scenes delightful, and his landscapes fine; in short, the amount and variety of his work is a proof of his great genius and industry, such as can scarcely be equalled in the history of painting. Yet it cannot be denied that there is much incorrect drawing, unnatural coloring, and coa.r.s.e, bad taste in some of his works. On the other hand, the fertility of his imagination, his bold design and effective execution, as well as his brilliant color, are all to be admired, and the name of Rubens stands high on the list of Flemish artists who are famous the world over.

[Ill.u.s.tration: FIG. 56.--THE RETURN FROM EGYPT. _By Rubens._]

FRANS SNYDERS (1579-1657) was born at Antwerp and lived in the time of Rubens. He was a famous painter of animals, and it sometimes happened that they worked together, Rubens painting the landscapes and figures and Snyders the animals in the same pictures. Snyders, like Rubens, excelled in representing animals in the most exciting moment of the combat or the chase, and his pictures are full of life. They are seen in all large European galleries, and are much prized.

JAN FYT (1609-1661), also born at Antwerp, is the greatest Flemish animal painter after Snyders. His greyhounds cannot be equalled, while his live dogs are wonderful; but his best pictures represent dead game. The fur and feathers in his paintings are marvellously done, and his pictures are among the best in the world in which such subjects are treated.

JACOB JORDAENS (1593-1678), another native of Antwerp, studied under Adam van Noort at the same time with Rubens, but later in life he became a follower and a sort of a.s.sistant of his former fellow-pupil. He married a daughter of their old master and never visited Italy. His color was fine; in truth, he sometimes excelled Rubens himself in the "golden glow" which is much admired in his works. Many sacred pictures by Jordaens are seen in the churches of Flanders. A fine historical work of his represents scenes from the life of Prince Frederick Henry of Orange, and is in the House of the Wood, near the Hague; but the larger part of his pictures represent the manners and customs of the common people, and are seen in public galleries.

The greatest artist among the pupils of Rubens, as well as one of the greatest of Flanders, was ANTHONY VANDYCK (1599-1641). He was born in Antwerp, and was the son of a silk merchant, this having been the occupation of the Vandycks for several generations. The mother of the painter was extremely skilled in various kinds of embroidery, and had such artistic tastes as enabled her to make many original designs, which she worked out with her needle in delicate and elaborate tapestry work.

Some people believe that to this taste and talent of his mother's Vandyck owed the instinct for drawing which he early showed; at all events, she did all she could to develop his taste, and when he was still a boy she persuaded her husband to place him under the teaching of Henry van Balen.

He was still quite young when he entered the studio of Rubens, and was soon so much trusted by the master as to be allowed to make drawings from his works for the use of the engravers. This sort of drawing must be done with great care and exactness, and Vandyck must have had much skill to be fitted for it. His fellow-pupils also had great faith in him, as is shown by the story that one day, when Rubens had gone out, the young student bribed his old servant to show them the painting with which the master was then occupied. While jostling each other it happened that one of them hit the fresh picture, and injured it. They were much alarmed, and begged Vandyck to repair it. After some hesitation he did so, and was so successful that at first Rubens did not detect the fact that another had worked on the picture. When he did discover it, and learned the truth about it he forgave the offence heartily.

When Vandyck was nineteen years old he was admitted to the Society of Artists in Antwerp, an unusual honor to one of his age. In 1620 Vandyck went to England, having been invited there through the Earl of Arundel.

Little is known of this visit, and two years later he was invited to the Hague, where he spent several months.

When Vandyck was pa.s.sing through Haarlem he went to the studio of Franz Hals, who was at a tavern just then. A message was sent him saying that a stranger desired to have his portrait made, and had but two hours to spare for it. Hals hastened home and dashed off the portrait within the time stated. Vandyck then said, "Portrait-painting seems to be a simple thing; take my place, and give me the brush for awhile." Hals complied with the request and Vandyck made his portrait with great celerity. Seeing this, Hals cried out, "You are Vandyck; he alone can do such work."

The young artist was suddenly called to the death-bed of his father, who commanded him to paint a picture for the Dominican Sisters who had cared for his father in his illness. Seven years later Vandyck presented the Sisters with a Crucifixion. At the foot of the cross was a rock upon which was inscribed, in Latin, "Lest the earth should be heavy upon the remains of his father, Anthony Vandyck moved this rock to the foot of the cross, and gave it to this place." When the monasteries were broken up, this picture was purchased for two thousand seven hundred dollars for the Antwerp Academy, where it now is.

At length Vandyck prepared to set out for Italy. When he paid his farewell visit to Rubens he presented the master with three of his pictures, and in return Rubens gave him one of his finest horses. As Vandyck was on his way from Antwerp to Brussels he halted at the village of Saventhem, where he fell in love with Anna van Ophem, and so stayed on in the lovely valley of Flanders, week after week, as if he had forgotten that Italy existed. Anna persuaded him to paint a picture for the village church, and he executed a Holy Family in which the Virgin was a portrait of Anna, and St. Joachim and St. Anna were drawn from her father and mother. This picture pleased the church authorities so much that they gave the young painter an order for another, which represented St. Martin dividing his cloak with beggars.

In this work the saint was a portrait of Vandyck, and the horse on which he rode was like that which Rubens had given him.