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292:. However, he only relied on such collaboration with figure painters in the last decades of his life when he produced his most ambitious classicising compositions. Even then he only relied on these figure specialists for the most prominent figures in the foreground while he took care of the minor characters. In fact, van Bloemen was an accomplished staffage painter and he was very skilled at quickly learning to imitate the style of his collaborators. As a result, many of the figures in his paintings that are attributed to prestigious contemporaries were actually by his own hand. He collaborated most frequently with Placido Costanzi. He regarded the pair of paintings representing
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associate the modern estate view with the classical arcadian landscape. Rather than offering the wide panoramic views, distant horizon and atmospheric effects associated with topographical landscapes, van
Bloemen's estate views emphasize minute observation of reality and a limited viewpoint. The estates are thus made to appear as immutable features of the local landscape.
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He travelled to Paris around 1682 and resided there for a few years. He then moved to Lyon where his brother Pieter van
Bloemen was staying. He probably met the painter Adriaen van der Kabel around this time. Via Turin, Jan Frans and Pieter van Bloemen travelled on to Rome where in 1688 they were
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or the Alban hills. His subjects were limited to views in the immediate vicinity of Rome, an outline of which was typically visible in his compositions. Van
Bloemen was in particular known for his 'estate views' representing the estates of the nobility in the Roman Campagna. His views aim to
265:. Van Bloemen's paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. His vedute fall into the category that combine reality with imaginary elements.
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His landscape drawings, which often depict imaginary ruins, have been confused with those of his brother Pieter, who is better known for his drawings of figures and animals. Jan Frans van
Bloemen also made pen drawings of buildings in and around Rome.
213:. This nickname referred to the distance he painted in his landscapes. While van Bloemen was a much locally patronized painter, he was unable to gain acceptance into the pre-eminent Roman painter's guild, the
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257:. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as
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272:('painting of touch') using small dotting and spirited brush-strokes. Unlike van Wittel, van Bloemen did not generally depict views of areas distant from Rome such as the
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before 1724, Jan Frans remained in Rome for the rest of his life, except for a few trips to Naples, Sicily and Malta, which he undertook with his brother Pieter. The
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His landscapes have an
Arcadian lushness, with mountains, streams, distant hamlets, and small inhabitants painted with imprecise
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155:. He likely trained with his brother. Between 1681 and 1684, he was in his native Antwerp a pupil of
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painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (
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Fifteenth to
Eighteenth-century European Drawings: Central Europe, The Netherlands, France, England
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171:(1670-1746), joined them as well. Whereas Pieter returned to Antwerp in 1694 and Norbert left for
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Ave Papa/Ave
Papabile: The Sacchetti Family, Their Art Patronage, and Political Aspirations
139:) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
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He worked together with other painters who painted the figures in his landscapes such as
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Van
Bloemen predominantly painted classical landscapes, taking his inspiration from the
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registered in the parish of Sant’Andrea delle Fratte. In 1690 a third painting brother,
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Van
Bloemen was successful in Rome and received commissions for the painting of large
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Rome in the Age of
Enlightenment: The Post-Tridentine Syndrome and the Ancien RĂ©gime
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Jan Frans van Bloemen: Orizzonte e l'origine del paesaggio romano settecentesco
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as his best collaboration with Placido Costanzi who painted the figures.
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163:(low-life) subjects situated in Roman or Mediterranean settings.
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583:. Philadelphia Museum of Art; Museum of Fine Arts, Houston.
651:. Toronto: Centre for Reformation and Renaissance Studies.
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New Approaches to Naples c.1500-c.1800: The Power of Place
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Bowron, Edgar Peters; Rishel, Joseph J., eds. (2000).
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View of Rome from the Farnese Gardens on the Palatino
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Flemish Paintings in the Metropolitan Museum of Art
128:(baptized 12 May 1662 - buried 13 June 1749) was a
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190:from prominent patrons such as the Queen of Spain
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425:RKD-Nederlands Instituut voor Kunstgeschiedenis
620:Hills, Helen (2013). Calaresu, Melissa (ed.).
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633:. New York: The Metropolitan Museum of Art.
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340:Landscape with a River and a Walled Town
615:. New York: Metropolitan Museum of Art.
519:van Mulders, Christine; Jacobs, Alain.
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642:(in Italian). Rome: Ugo Bozzi Editore.
456:Bowron & Rishel 2000, pp. 331-334.
245:Roman Campagna with Figures Conversing
580:Art in Rome in the Eighteenth Century
554:Haverkamp-Begemann 1999, pp. 175-176.
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301:The Rest on the Flight to Egypt
37:Jan Frans van Bloemen, c. 1723
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693:18th-century Flemish painters
606:. Cambridge University Press.
194:, the Roman nobility and the
638:Vici, Andrea Busiri (1974).
723:Members of the Bentvueghels
647:Zirpolo, Lilian H. (2005).
629:Liedtke, Walter A. (1984).
232:. He died in Rome in 1749.
16:Flemish painter (1662–1749)
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703:Flemish landscape painters
624:. Ashgate Publishing, Ltd.
354:Landscape with a Fountain
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708:Flemish Baroque painters
396:Vici 1974, pp. 222, 225.
572:. London: Sphinx Books.
421:"Jan Frans van Bloemen"
470:Liedtke 1984, pp. 3-4.
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226:Gabrielle Ricciardelli
220:Among his pupils were
698:Painters from Antwerp
670:at Wikimedia Commons
668:Jan Frans van Bloemen
602:Gross, Hanns (1991).
506:Zirpolo 2005, p. 132.
488:Vici 1974, pp. 32-33.
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215:Accademia di San Luca
126:Jan Frans van Bloemen
25:Jan Frans van Bloemen
568:Bolton, Roy (2009).
497:Bolton 2009, p. 194.
326:Italianate Landscape
545:Gross 1990, p. 351.
527:. Oxford Art Online
295:The Flight to Egypt
169:Norbert van Bloemen
118:Norbert van Bloemen
718:Painters from Rome
479:Vici 1974, p. 222.
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222:Franz Ignaz Oefele
153:Pieter van Bloemen
114:Pieter van Bloemen
713:Italian vedutisti
666:Media related to
387:Vici 1974, p. 28.
192:Elizabeth Farnese
181:Caspar van Wittel
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70:(1749-06-13)
68:13 June 1749
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688:1749 deaths
683:1662 births
410:Hills 2013.
84:Nationality
53:12 May 1662
677:Categories
562:References
49:1662-05-12
211:Horizonti
207:Orizzonte
173:Amsterdam
133:landscape
110:Relatives
95:Orizzonte
59:, Belgium
435:3 August
429:Archived
254:Campagna
147:Born in
104:Painting
531:20 July
312:Gallery
149:Antwerp
130:Flemish
87:Flemish
78:, Italy
57:Antwerp
587:
252:Roman
228:, and
188:vedute
137:vedute
375:Notes
177:Dutch
585:ISBN
533:2014
437:2023
298:and
288:and
261:and
236:Work
196:Pope
143:Life
76:Rome
65:Died
43:Born
209:or
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
