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237:. The Guild of Romanists was a society of notables and artists which was active in Antwerp from the 16th to 18th century. It was a condition of membership that the member had visited Rome. In the year 1637 the Guild of Romanists chose Seghers as its dean. By the time he died in Antwerp in 1651, Seghers was a wealthy man who owned a comfortable house and an extensive art collection.
352:) he adopted Rubens' composition for his treatment of the same subject. It is with this style that he achieved his greatest success in his career. His most important and most characteristic works were painted between 1630 and 1640. Afterwards, he changed to a more gracious and elegant, but also less monumental style. His colours became weaker and the draperies more linear.
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119:, had as significant impact on his early work. Manfredi was one of the closest followers of Caravaggio and was at the height of his fame when Seghers arrived in Rome. Seghers fell strongly under the spell of Manfredi's work. He likely also met up with the Dutch and Flemish Caravaggisti residing in Rome such as
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While
Seghers typically worked on a large scale, he also produced various works on a small scale and on copper for the export market or private use. These smaller works were often reduced copies or variations of his own works. Many of Seghers' compositions were engraved by Antwerp engravers such as
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In
Antwerp Seghers was successful as a painter and art dealer and was able to afford a house on the fashionable Meir. He was patronized by many monastic orders, including the Jesuits, who commissioned altarpieces from him. He was employed by the city authorities of both Antwerp and Ghent as one of
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seems to have been particularly dear to him as at least 10 versions by his hand are known. The theme lent itself easily to genre treatment. Seghers was mainly interested in depicting people of flesh and blood, preferably in a moment of crisis which allowed the artist to paint their various facial
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to the
Cardinal-Infante on 25 June 1637. It is possible that in the 1640s he spent some time in Amsterdam. Seghers' work found an eager market abroad, in particular in Spain, thanks to the strong political links between Spain and Flanders as well as Seghers' personal connections with important
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De
Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde
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After 1630, his palette lightened up considerably and the dark background was replaced by architectural motifs, clouds and landscape elements. The realistic facial expressions became more
Classicist and he used more variations of colour. These changes reflected the influence of
139:. He is believed to have worked on commissions for, and sent his works, to the Antwerp art merchants Goetkint. At the same time Seghers used the stay in Italy to further his training as a painter and make copies after famous Italian paintings.
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Stylistically and thematically, Seghers was initially strongly influenced by
Caravaggio and in particular the work of Bartolomeo Manfredi, a follower of Caravaggio, who championed an idealised form of Caravaggism. Caravaggism, both in
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In 1624 he became a consultor of the
Sodality of the Married Men of Age ('Sodaliteit der getrouwden'), a fraternity of married men established by the Jesuit order. It is assumed that in the period 1624 to 1627 he visited or resided in
157:. However, the lack of mention of the artist in contemporary Spanish sources, casts doubt on this supposed sojourn in Spain. He was back in Antwerp in the fall of 1620 and the following year he assisted Rubens in the decoration of the
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In 1608, only aged 17, he became a master in the
Antwerp Guild of Saint Luke. In 1611 Seghers joined the Society of the Aged Bachelors (Sodaliteit der Bejaarde Jongmans), a fraternity for bachelors established by the Jesuit order.
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Cardinal
Antonio Zapata y Cisneros convinced Seghers to go to Madrid. He traveled to Madrid in 1616 with Bartolomeo Cavarozzi and Giovanni Battista Crescenzi. He reported later that in Spain he was in the service of king
282:, continued to mark Seghers's work after his return to Antwerp. In contrast to Caravaggio, Seghers preferred a more idealised treatment of his subjects. The influence of the Caravaggisti is seen in his reliance on
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expressions. The masked candle he used heightened the expressiveness and added a spiritual dimension. Many copies of his versions of this theme were produced by himself and his studio. The
Flemish painter
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of Antwerp. In 1621 Seghers married Catharina Wouters (d.1656) who came from a respected family. The couple would have eleven children of whom one, Jan-Baptist Seghers (1624-1670), also became a painter.
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and large religious and allegorical works. He completed many altarpieces for churches in the Southern Netherlands. Most of his works are executed in a characteristic landscape (horizontal) format.
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and the Spanish ambassador. In Rome he encountered the followers of Caravaggio, who had himself died a few years before Seghers' arrival in Rome. One in particular,
193:, the new governor of the Southern Netherlands, in 1635. Seghers' contribution to the Ghent decorations was based on a design by Rubens and was later engraved by
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Ford-Wille, Clare. "Seghers, Gerard." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford Art Online. Oxford University Press. Web. 1 July 2022
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movement. In his later career he abandoned the Caravaggist style and genre motifs to become an important painter of large altarpieces for local churches.
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repeated one of Seghers' variation on the theme in his programme of decorative paintings on biblical themes he painted for the
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where around 1611 he was in Naples working for the Spanish Viceroy. He later moved to Rome where he worked for cardinal
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Carl Van de Velde. "Seghers, Gerard." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 18 July 2014
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with whom Seghers closely collaborated during the 1630s. This influence went even so far that in his painting the
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and published by Jan van Meurs in Antwerp in a publication on the Joyous Entry into Ghent. Seghers was appointed
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where he would have met the leading Carravagist Gerard van Honthorst whom he likely knew from Rome.
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Alternative spellings of last name: 'Zegers' and 'Zeghers', first name also 'Geerard' and 'Gerardo'
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Seghers served as the dean of the Antwerp Guild of St. Luke in 1645. Seghers was a member of the
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painter, art collector, and art dealer. After a period of study and residence in
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Nicolson, Benedict (June 1971). "Gerard Seghers and the 'Denial of St Peter'".
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Gérard Seghers, pintor en grande y en pequeño. Nuevas pinturas identificadas
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Gérard Seghers y el Marqués de Leganés : nuevas pinturas identificadas
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in Antwerp. It is not clear who his teacher was. Possibly he trained under
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whom Seghers had become acquainted with during his stay in Rome.
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Belgica implores Charles V to let Ferdinand rule the country
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the many artists working on the festive decorations for the
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since his return to Antwerp in 1620. He further joined the
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He had many pupils including his son Jan Baptist Seghers,
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39:(17 March, 1591 – 18 March, 1651) was a
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98:Saint Sebastian comforted by an angel
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289:Judith with the Head of Holofernes
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736:Michelangelo Merisi da Caravaggio
487:Ph. Rombouts and Th. van Lerius,
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294:Galleria Nazionale d'Arte Antica
431:, Antwerpen, 1883, pp. 879–884
159:Saint Carolus Borromeus church
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595:at Prado Enciclopedia online
246:Thomas Willeboirts Bosschaert
991:Giovanni Francesco Guerrieri
804:Jan Gerritsz van Bronckhorst
308:North Carolina Museum of Art
560:Biography of Gerard Seghers
59:Gerard Seghers was born in
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350:Church of Our Lady, Bruges
191:Cardinal-Infante Ferdinand
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1072:Bartolomé Esteban Murillo
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303:The Denial of Saint Peter
268:The denial of Saint Peter
210:Antonio Zapata y Cisneros
113:Antonio Zapata y Cisneros
1151:Flemish history painters
1146:Flemish Baroque painters
849:Flemish Baroque painting
471:11 November 2014 at the
320:Michael Angelo Immenraet
178:Repentant Mary Magdalene
971:Paolo Domenico Finoglia
613:The Burlington Magazine
564:National Gallery of Art
1156:Flemish genre painters
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936:Marco Antonio Bassetti
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1092:Francisco de Zurbarán
981:Artemisia Gentileschi
809:Hendrick ter Brugghen
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346:Adoration of the Magi
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324:Unionskirche, Idstein
315:Denial of Saint Peter
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951:Cecco del Caravaggio
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842:Flemish Caravaggisti
819:Gerard van Honthorst
690:at Wikimedia Commons
463:Matthias Depoorter,
133:Hendrik ter Brugghen
131:, and possibly also
121:Gerard van Honthorst
1031:Bartolomeo Schedoni
1001:Bartolomeo Manfredi
878:French Caravaggisti
661:Jahel Sanzsalazar,
575:A copy of the print
540:Jahel Sanzsalazar,
227:chamber of rhetoric
155:Philip III of Spain
117:Bartolomeo Manfredi
76:Guild of Saint Luke
1056:Giuseppe Vermiglio
986:Orazio Gentileschi
956:Bernardo Cavallino
895:Georges de La Tour
799:Hendrick Bloemaert
771:Dutch Caravaggisti
362:Schelte a Bolswert
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235:Guild of Romanists
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84:Hendrick van Balen
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1051:Massimo Stanzione
1036:Giovanni Serodine
931:Giovanni Baglione
864:Theodoor Rombouts
814:Wouter Crabeth II
779:Dirck van Baburen
686:Media related to
516:A musical company
342:Peter Paul Rubens
313:The theme of the
147:A musical company
137:Theodoor Rombouts
125:Dirck van Baburen
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751:Chiaroscuro
579:Rijksmuseum
334:Lute player
300:as well as
284:chiaroscuro
195:Jacob Neefs
1140:Categories
1115:Gerrit Dou
789:Paulus Bor
494:(in Dutch)
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410:(in Dutch)
368:References
68:still life
1110:Rembrandt
756:Tenebrism
231:Violieren
520:Archived
469:Archived
70:painter
746:Baroque
577:at the
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276:history
229:called
168:Utrecht
61:Antwerp
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127:, and
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298:Rome
252:Work
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