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383:). In the centre of the upper border of this tapestry is a cartouche with the inscription: Artes Deprifit bellum agvibus sustinatus ("War oppresses the arts which support it"), also designed by Cornelis Schut. The cartoons were woven repeatedly in Bruges between 1655-1675. They were also woven in the Brussels workshops.
346:, who played a major role in the evolution of baroque painting. This is particularly evident in his work in Antwerp starting from c. 1630 (or possibly somewhat earlier) where the style of Barocci is recognizable in the spatial effects, the unstable and emotive poses and the flashing lighting effects. His
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Schut enjoyed artistic success upon his return to
Antwerp where he produced mainly altarpieces for the local churches. He painted in the High-Baroque style that had become popular in Flanders by that time. In particular his ability to produce ceiling decorations in the monumental Italian style, with
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His movements after this time are unclear. He resurfaced in
September 1631 in Antwerp when he appeared before a notary to draw up marital conditions. On 7 October 1631 Cornelis Schut married Catharina Gheenssins, who was from a well-off family. His wife died on 29 September 1637 leaving the artist
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although he was an accomplished etcher himself. Cornelis made etchings after his own works. For instance, he made a series of etchings on the theme of the liberal arts which are similar to his designs for cartoons on the same subject. He also created many small, decorative etchings of naked
417:. These paintings typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. An example of a collaboration between Schut and a flower painter on a garland painting is the composition
373:, a series of tapestries. The series consisted of 8 tapestries, seven dedicated to each of the liberal arts plus one depicting their combined apotheosis. Together, the series can be interpreted as an allegory of war and peace. An example of a tapestry in the series is the
151:. This commission was instrumental in launching Schut's career in Italy as Pescatori was rich and influential and keen to help his compatriots in Italy. Another important patron in Rome was the aristocratic Italian banker and art collector
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Schut's plans in Rome were disrupted when on 16 September 1627 he was imprisoned for the killing of a fellow artist by the name of Giusto. His jail time was short as on 2 October he was already released thanks to the intervention of the
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were invited to submit for this competition a painting on the subject of the martyrdom of St George. Both works were exhibited and finally a panel of six judges, of which each artist had appointed three, ruled in favour of Schut.
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Schut died in
Antwerp on 29 April 1655 shortly after the death of his second wife. He was buried on 1 May 1655 in the Saint Willibrord Church in Antwerp in a grave shared with his second wife. The grave and its marble
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on these projects. The Ghent magistrate commissioned Schut to draw and engrave all the decorations that had been made for the Ghent Royal Entry. Schut supplied more than 100 etchings for this commission.
103:. Although the scientific relevance of Weyerman's sources is questioned, it is still assumed that Schut was a pupil of Rubens since Rubens was exempted from registering his pupils with the Antwerp
147:, owned by Giorgio Pescatori (aka Pieter de Vischere), a wealthy Italian banker and patron of Flemish descent. He collaborated on this project with the Dutch painter and also Bentvueghels member
126:, an association of mainly Dutch and Flemish artists working in Rome. It became customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Schut took the nickname
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The age of Rubens & Rembrandt: old master prints from the Art
Gallery of South Australia; Dutch and Flemish etchings, engravings and woodcuts from the sixteenth and seventeenth centuries
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Schut was a versatile artist who produced oil paintings, frescos, engravings, drawings and tapestry cartoons. He was principally a history painter of religious and mythological subjects.
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As was common in 17th-century
Antwerp, Schut often collaborated with other artists who were specialist painters. He added figures to the compositions of the painter of church interiors
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In 1643 the headmen of the
Antwerp civil militia the Gilde of de Jonge Voetboog wrote out a competition for a new altarpiece for the militia's altar in the Antwerp Cathedral. Schut and
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Other than in some motifs and compositional arrangements, Schut's work displays little stylistic resemblance to that of Rubens. Schut's skill in interpreting the themes of the
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are also evident. Schut's style, which is characterized by strong foreshortening, sharp contrasts of light and extreme facial expressions has some affinity with the work of
111:, some connection with the workshop of Abraham Janssens may have existed although it does not prove he was Janssens' pupil. Schut became a master of the Antwerp
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338:. This style is characterized among other things by a strong sense of animation and pathos, in which light and color play an important role. Elements of late
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with three children of whom two died young. The artist remarried the next year with
Anastasia Scelliers with whom he had two sons and two daughters.
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as the son of Willem Schut and
Suzanna Schernilla. There are no records about his artistic training. He is first mentioned as a pupil of
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on so-called 'garland paintings'. Garland paintings are a type of still life invented in
Antwerp and whose earliest practitioner was
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and tapestry designer who specialized in religious and mythological scenes. Presumed to have trained under Rubens, he treated
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159:). This patronage clearly demonstrated the esteem which Schut enjoyed in Rome. He also attracted the attention of the young
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318:. During his Italian sojourn in Rome during 1624 and Florence in 1627 he adopted elements of the High Baroque style of
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721:, Bibliothèque de la Faculté de philosophie et lettres de l'Université de Liège. Publications exceptionnelles. 4, 1977
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led to many commissions for altarpieces in churches and monasteries in
Antwerp, Brussels, Ghent, Bruges and Cologne.
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in 1635 in both Antwerp (where Rubens was in charge of the overall artistic design) and Ghent. He collaborated with
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its typical illusionistic character, was regarded highly by patrons in his home country. An example of this is his
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Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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Hans Vlieghe, "Schut, Cornelis, I" in: Oxford Art Online. Oxford University Press, access date: 3 December 2013
427:) in which the figures in the center were painted by Schut and the flower garland was painted by Frans Ykens.
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Schut created some very inventive designs on mythological and allegorical subjects in his cartoons for the
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for the Arazzeria Medicea, the most important tapestry factory in Italy founded in 1546 in Florence by the
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David A. Levine, "Schildersbent ", in: Oxford Art Online. Oxford University Press. Retrieved 15 March 2014
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Schut was the teacher of Ambrosius (II) Gast, Jan Baptist van den Kerckhoven, Philippe Vleughels,
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painted in 1643 for the competition with Thomas Willeboirts Bosschaert is close to Barocci's
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where he was one of the leading history painters in the first half of the 17th century.
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From 13 January 1627 he worked on frescoes in the villa "Casino Pescatore" located in
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Schut played a prominent role in the decorative project at the occasion of the
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who commissioned two large religious compositions from him (now in the
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then residing in Rome in the residence of the Flemish sculptor
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Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola,
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Flemish painter, engraver and tapestry designer (1597–1655)
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Works by Cornelis Schut are in the collections of the
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405:. Schut collaborated with flower painters such as
118:Schut left for Italy shortly after 1618. While in
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181:tapestries
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189:Cosimo I
177:Florence
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