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349:), showing his characteristic trees with windswept foliage framing a finely detailed panorama depicted from a high viewpoint. Many of his drawings depict landscapes including urban views and often feature bridges. Usually, cities and landscapes occupy most of the space while the human figures are of small scale. The cities are typically characterized by high towers. The landscapes are mountainous and suggest distance. He often placed an object such as a tree on the left or right side of his drawings in order to link the front and back of the composition. An example is the
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130:, near Venice, where he lived and worked for the rest of his life. It is possible that the artist moved from Venice to Treviso because the Venetian painter's guild did not grant him membership and thus the right to work in Venice. Despite his residence in Treviso, Toeput kept in touch with Venice where he met with artistic personalities such as
171:. The artist married Laudamia Aproino in 1601 in Treviso. In Italy, the painter was known as Ludovico Pozzoserrato, the literal translation into Italian of his Flemish name Toeput which can be read to mean â'Closed Well'â. After he established his residence in Treviso, the artist referred to himself as Lodovico Pozzo da Trevigi.
49:/1550 â between 1603 and 1605) was a Flemish landscape painter and draftsman active in Italy. He is mainly known for his canvases and frescoes of landscapes and formal gardens with banquets and music-making groups. His landscapes had an important influence on the next generation of Flemish landscape artists such as
189:. He made many religious paintings for the Venetian churches. Toeput was principally known for his landscape frescoes and canvases, which combine Flemish and Venetian styles. These landscapes typically depict spacious vistas, full of atmospheric and picturesque effects. His paintings and frescoes can be found
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Toeput is recorded in
Florence in the late 1570s. A stay in Rome is not documented, but it is believed on the basis of drawings of ancient Roman churches that at the beginning of the 1580s Toeput stayed in this city. He then probably resided in Venice for a brief period but was documented in February
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Toeput is also known for his allegorical compositions. In the frescoes of the Villa
Chiericati-Mugna, executed between 1587 and 1590, he developed a series of allegorical landscapes, which represent the months of the year, each recognizable by their astrological sign. The series is complemented by a
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Toeput painted frescoes, altarpieces and paintings with
Biblical scenes, landscapes, city views and genre scenes of Venetian social life depicting formal gardens with banquets and music-making groups. He painted several historical allegories from the Bible and mythological themes from the
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306:). It shows his closeness to his presumed master Maerten de Vos. The influence of his Venetian master Tintoretto is also palpable. This work and other works by Toeput are also close to, and have often been confused with, those of his Flemish compatriot
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of a door that reveals a page with a dog, a painting above the fireplace with Apollo holding a lyre and friezes containing mythological figures along the walls. Toeput left various drawings representing the seasons and months of the year. The
538:, DĂ©partement dâhistoire de lâart et dâĂ©tudes cinĂ©matographiques, FacultĂ© des arts et des sciences, MĂ©moire prĂ©sentĂ© Ă la FacultĂ© des Ă©tudes supĂ©rieures, En vue de lâobtention du grade MaĂźtre (M.A.) en histoire de lâart, DĂ©cembre 2014, p. 21
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Suzanne
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Toeput was in demand as a designer of prints. Flemish engravers who travelled through Venice such as Rafael I Sadeler would engrave after his existing designs or order new designs from him.
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Toeput painted various elegant gardens with figures engaging in courtly love or concerts. Many of his garden scenes were likely inspired by contemporary
Flemish prints. For instance, his
310:(Pauwels Franck) who also resided in Venice at the same time. Toeput drew many biblical and mythological scenes, but was primarily a draftsman of cityscapes and panoramic landscapes.
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The early life of
Lodewijk Toeput in his native Flanders is not documented and the date and place of his birth are not known with certainty. The late 16th century biographer
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Larry Silver, 'Peasant Scenes and
Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market', University of Pennsylvania Press, 2012, p. 195
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In
Treviso there was at the time a high demand by religious and civilian patrons for artwork. One important assignment was for decorations for the
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While the date of his departure from his home country is not documented, it is believed the artist arrived around 1573â74 in Venice. According to
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Name variations: Lodewyk Toeput, Lodewijck Toeput, Lodewyck Toeput, Ludovico
Fiammingo, Lodovico Pozzo da Treviso, il Pozzoserrato
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Teréz Gerszi. "Toeput, Lodewijk." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 19 September 2020
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Les jardins dans l'oeuvre de Lodewijk Toeput : entre tradition flamande et culture vénitienne
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there is still no consensus view. In Antwerp he is believed to have studied with
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Lodewijk Toeput in the 'Jahrbuch des Kunsthistorischen Institutes, Graz, 1968'
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He died in Treviso some time between 1 January 1604 and 9 September 1605.
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in various Italian cities such as Padua, Treviso and Conegliano.
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Musei civici di Treviso) appears to draw inspiration from
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Toeput's drawings show his interest in topography. His
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