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287:). This is a collaboration with Gaspar de Witte and Hieronymus Janssens. The composition depicts an imaginary art gallery with many visitors who are appreciating and discussing some of the artworks in the gallery. This gallery painting represents a later development in the genre initiated by David Teniers the Younger, which excludes non-art objects from the gallery. The figures in the gallery painting are portrayed as forming part of an elite who possess privileged knowledge of art. The genre of gallery paintings had by that time become a medium to accentuate the notion that the powers of discernment associated with connoisseurship are socially superior to or more desirable than other forms of knowing.
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304:) dated to 1666 falls into the category of allegorical picture galleries, which can be considered a sub-category of the imaginary art gallery type. This composition depicts a large imaginary gallery in which are present a number of persons admiring and scrutinizing artworks and, on the right hand side, figures representing gods and allegorical figures. The painting is a collaboration with each of the individual painters whose work is depicted in the painting and have signed their own work:
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364:. Such paintings can be read as a reference to connoisseurship, and in particular the connoisseur's activity of evaluating the authorship of paintings based on stylistic characteristics. It can also be regarded as a carefully crafted advertisement of the present talent and past legacy of the Antwerp school of painting.
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were the first artists to create paintings of art and curiosity collections in the 1620s. Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings. The earliest works in this genre depicted art objects together with other items such
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stands in the tradition of
Antwerp architecture art from the first half of the 17th century. However, the spatial effect in the oeuvre of van Ehrenberg is stronger. He showed a particular preference for the fantastic and pathetic, which he emphasized further with light-dark contrasts and a
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The majority of van
Ehrenberg's pictures were painted between 1660 and 1670. He often collaborated with other artists who added the figures or animals. This was a common practice in 17th century Antwerp. His collaborators included
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340:(Landscape) and the monogrammists missed PB (Fish Still Life) and PVI or PVH (Satyr and Nymph). Van Ehrenberg painted the architecture as well as the ceiling (which is made up of copies of Rubens' works for the
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551:, A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan, 2012
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mainly active in
Antwerp who specialized in architectural paintings including of real and imaginary church interiors, Renaissance palaces and picture galleries.
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Most likely born in
Antwerp where his baptism is recorded on 12 May 1630 (despite an unnamed source stating he was born in Germany), he entered the Antwerp
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The date of his death is not known with certainty and is believed to have occurred between 1687 (the latest date of one of his dated works) and 1707.
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Hannelore Magnus, 'Schilders, connoisseurs en hun (Salomons)oordeel, Het
Schilderijenkabinet (1659) van Jacob de Formentrou en Erasmus II Quellinus'
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Van
Ehrenberg painted many architectural paintings usually of imaginary church interiors, temples, palaces and art galleries. Paintings such as the
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as scientific instruments or peculiar natural specimens. The genre became immediately quite popular and was followed by other artists such as
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Wilhelm
Schubert van Ehrenberg worked also in the genre of the 'gallery paintings'. The 'gallery paintings' genre is native to Antwerp where
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348:. Other such collaborations between multiple Antwerp painters on picture gallery paintings are recorded. Another example is
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Marr, Alexander (2010) 'The
Flemish 'Pictures of Collections' Genre: An Overview', Intellectual History Review, 20: 1, 5–25
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264:. The art galleries depicted were either real galleries or imaginary galleries, sometimes with allegorical figures.
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Monstrous creatures and diverse strange things": The
Curious Art of Jan van Kessel the Elder (16261679)
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Of particular interest are a set of paintings representing the Seven
Wonders of the World such as the
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Seventeenth Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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in 1662. He resided in Antwerp for most of his life. It is possible he travelled to
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390:. Pelican history of art. New Haven: Yale University Press. p. 201.
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in Antwerp) (later destroyed in a fire). The figures are probably by
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206:(both in the Musée Henri Dupuis Saint-Omer) and the two paintings of
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architecture of the space depicted, but are more artificial than his
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222:, a collaboration with Hieronymous Janssens and Gaspar de Witte
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of almost dwarfish figures (often painted by other artists).
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was also an artist who had a successful career as a painter,
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He was the teacher of the painter of architecture paintings
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Interior of the Saint-Carolus-Borromeus Church in Antwerp
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Interior of an art collector's cabinet with many visitors
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Interior of an art collector's cabinet with many visitors
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Interior of the Saint-Carolus-Borromeus Church in Antwerp
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An example of van Ehrenberg's work in this genre is the
212:(both in Oxford College Anon II, University of Oxford).
332:(Gyges and Kandaules and Allegory of Painting),
506:at the Netherlands Institute for Art History
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123:, a collaboration with Hieronymous Janssens
462:Interior of the St. Peters' Church in Rome
183:Interior of the St. Peters' Church in Rome
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74:as he made drawings of Italian subjects.
503:Interior of an Imaginary Picture Gallery
308:(Daughters of Cecrops and Erychtonius),
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272:Interior of an Imaginary Picture Gallery
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387:Flemish Art and Architecture, 1585–1700
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422:Netherlands Institute for Art History
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158:Royal Museums of Fine Arts of Belgium
121:Dungeon interior with elegant figures
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519:Jacob de Formentrou (fl.164059),
360:), part of the collection of the
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480:, Ashgate Publishing, Ltd., 2012
358:Art lovers in a painting cabinet
571:Wilhelm Schubert van Ehrenberg
418:Wilhelm Schubert van Ehrenberg
336:(Adoration of the Shepherds),
203:The Temple of Diana at Ephesus
32:Wilhelm Schubert van Ehrenberg
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44:Wilhem Schubert van Ehrenberg
40:Wilhem Schubert von Ehrenberg
36:Willem Schubart van Ehrenberg
89:Peter Schubart von Ehrenberg
326:Philips Augustijn Immenraet
16:Flemish painter (1630–1676)
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597:Flemish landscape painters
233:Frans Francken the Younger
197:Mausoleum of Halicarnassus
524:, at the Royal Collection
464:at vlaamsekunstcollectie
254:David Teniers the Younger
54:, c. 1676) was a Flemish
587:Flemish Baroque painters
328:(Italianate Landscape),
242:Jan Brueghel the Younger
82:Jacobus Ferdinandus Saey
26:The Interior of a Church
172:contemporaries such as
592:Flemish genre painters
346:Charles Emmanuel Biset
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237:Jan Brueghel the Elder
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174:Pieter Jansz Saenredam
142:Charles Emmanuel Biset
130:Hendrik van Minderhout
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607:Painters from Antwerp
521:A cabinet of pictures
384:Hans Vlieghe (1998).
342:Carolus Borromeuskerk
322:Robert van den Hoecke
316:(Diana and Actaeon),
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246:Cornelis de Baellieur
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573:at Wikimedia Commons
440:J. Paul Getty Museum
436:Biographical details
324:(Winter Landscape),
320:(Fruit Still Life),
602:Flemish printmakers
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354:Cabinet of pictures
350:Jacob de Formentrou
306:Theodoor Boeyermans
262:Hieronymus Janssens
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547:Nadia Sera Baadj,
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581:Categories
537:(in Dutch)
508:(in Dutch)
466:(in Dutch)
285:Montargis
189:staffage
162:Brussels
93:engraver
87:His son
420:at the
166:Baroque
156:(1667;
112:General
56:painter
52:Antwerp
48:Antwerp
38:(also:
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302:Munich
180:. His
101:Vienna
368:Notes
72:Italy
392:ISBN
290:The
260:and
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62:Life
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