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33:(16 August 1614 or 1617 - 1684/1704) was a Flemish landscape painter who, after training in Antwerp, had a successful career in Rome where he worked for an elite clientele. The artist was forgotten until his rediscovery in 1959. With his highly expressionist landscapes executed with a very free brush the artist occupies a unique position in the artistic panorama of Baroque Rome.
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Jan de Momper is known for his landscapes depicting coastal and river landscapes populated with contemporary figures and hunting scenes. The landscapes of Jan de Momper are characterized by their singular extravagance. The works are very personal and executed with a great freedom of the brush and
59:, which had settled in Antwerp in the 16th century. Some art historian have suggested that he was the Joannes de Momper who was born on 16 August 1614 as the son of the painter Jan de Momper (II) and Elizabeth van Hoeswinckel. Jan de Momper (II) was a brother of the prominent landscape painter
178:, to which they were transferred from the royal collection. The works were inventoried as de Momper but without indicating his first name, which had led to an attribution of the works to the more famous Joos de Momper. Another landscape attributed to the artist is the
101:, an organization of mainly Flemish and Dutch painters active in Rome. It was the custom of the Bentvueghels to adopt a nickname, the so-called bent name, at the time a member was admitted. The bent name of Jan de Momper was 'Eervrucht' ('Fruit of Honour').
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in Rome where the family's large art collection is currently housed. In 1661 he was a well-established painter in Rome, as evidenced by a very important order from another distinguished art loving family in Rome, the
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as a 'wijnmeester', i.e. the son of a member. Jan likely left
Antwerp in the late 1630s when the family de Momper's large studio collapsed after the death of Joos de Momper, the leading artist in the family.
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Few details about the life of Jan de Momper are known with certainty. According to
Italian sources he was born in Antwerp. This would indicate that he may have been a member of the extensive
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with strong contrasts. His compositions reveal a preference for the unfinished. His style demonstrates he was familiar with the landscapes of
Rembrandt as will as the late works of
141:"Monsù X". From an inscription on the back of one of those canvases, owned by the Chigi family, Longhi was able to identify the anonymous master as Jan de Momper.
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who was active in Rome. Jan's wife Agnes
Vincentii, who died in Rome on 19 April 1684, was Adriaenssen's daughter. Adriaenssen was also his early mentor in Rome.
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55:, which specialised in landscape painting. The de Momper family was a prominent family of landscape painters and printmakers, originally from
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Irene
Haberland and Louise S. Milne. "Momper, de." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 27 August 2016
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In the year 1657 the artist was recorded in Rome in connection with a commission to produce 9 landscapes for the prominent Roman
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161:'s landscapes. The expressionistic talent of Jan de Momper made him a unique case in the artistic panorama of Baroque Rome.
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brought together a series of landscapes characterized by a strong personality and a remarkable freedom of brush under the
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Ph. Rombouts and Th. van Lerius, De liggeren en andere historische archieven der
Antwerpsche sint Lucasgilde
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In 1684 Jan de Momper was recorded as working on the palace of the Chigi family in
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Jan de Momper's name as a painter was virtually lost until the art historian
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Jan de Momper was linked with the prominent
Flemish battle painter
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Dos lienzos de Jan de Momper en colecciones madrileña
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family. Some of his works are still present in the
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190:Goya
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