257:). It depicts a group of five elegantly dressed gentlemen in the act of appreciating several sculptures some of which they are holding. The walls of the room is covered with paintings in different genres. Some paintings, which the elegant figures already have or are about to evaluate, are resting on the floor or on a chair. At least one of the persons depicted is an artist as he is holding a brush and palette. Gillis van Tilborgh’s gallery paintings continue the trend initiated by Teniers to remove non-art objects from the gallery. He depicts his figures in the gallery paintings to emphasise that they form part of an elite who possess privileged knowledge of art.
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344:(sold by Jean Moust Old Master Paintings), which depicts an officer reading a letter for four men, amidst a pile of weapons and a war standard. The armour depicted in the picture was already out of date at the time it was painted since metal armours, breast plates and helmets fell out of use from the 1620s. It is possible that in line with the moralizing intent of the genre, the armour is a reference to the
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objects together with other items such as scientific instruments or peculiar natural specimens. Some gallery paintings include portraits of the owners or collectors of the art objects or artists at work. The paintings are heavy with symbolism and allegory and are a reflection of the intellectual preoccupations of the age, including the cultivation of personal virtue and the importance of connoisseurship.
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399:(Royal Museums of Fine Arts of Belgium). It includes a few workers and about a dozen aristocratic observers engaging in contemplative and leisurely activities. In the foreground are two people playing music. An exotic bird perched on the neck of the guitar provides through its intense colours a visual substitute for the music that cannot be heard.
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Gillis van
Tilborgh's works are dated from 1650 to 1671. He usually signed with the monogram 'TB'. The range of his subject matter is as diverse as that of his presumed master David Teniers the Younger and encompasses portraits, group portraits, tavern scenes, village feasts, merry companies, picture
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Van
Tilborgh’s master Teniers played an important role in the development of the genre and his mid 17th century gallery paintings of the collection of Archduke Leopold Wilhelm are among the most famous examples of the genre. Other painters practicing the genre around the time of van Tilborgh include
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He also painted 'gallery paintings' or 'picture galleries', a subject matter that had developed in
Flanders in the 17th century. 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
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In some of his gallery paintings he included artists at work. The genre of gallery paintings had by then 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. His series
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His village scenes follow the style of David
Teniers the Younger's mature period. During that period Teniers had moved away from the traditional depictions of peasants as uncultured boors towards a more idealised and elevated perception of peasants and village life. An example is the
324:. A guard room scene typically depicts an interior scene with officers and soldiers engaged in merrymaking. Guardroom scenes often included mercenaries and prostitutes dividing booty, harassing captives or indulging in other forms of reprehensible activities.
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He painted at least two 'guardroom scenes', a type of genre scene that had become popular in the mid-17th century, particularly in the Dutch
Republic. In Flanders there were also a few practitioners of the genre including David Teniers the Younger,
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scene which is ascribed to van
Tilborgh. This scene is set in a very large guardroom with numerous people engaging in various activities. In the middle of the guardroom stand two gentlemen in what appears to be oriental dress.
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Name variants: Gillis van
Tilborch the Younger, J. van Rijck, J. van Rijk, T. van Ruch, J. van Ryck, J. van Ryk, Aegidius van Tilborgh, Egidius van Tilborgh, Johannes van Tilborgh, Gillis van Tilburg, Gillis van
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Van
Tilborgh is known to have operated a sizable workshop in Brussels but none of his pupils or assistants have been identified. At around 1670 he travelled to England as is documented by a
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Gillis van
Tilborgh was likely born in Brussels. He is believed to have studied first under his father Gillis van Tilborgh the Elder and then with
386:, 5 July 2012, London, lot 134). In this composition, the artists placed their subjects on an unlikely steep rise overlooking their large estate.
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Marr, Alexander (2010) 'The
Flemish 'Pictures of Collections' Genre: An Overview', Intellectual HistoryReview, 20: 1, 5–25
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As was the custom at the time, van Tilborgh often collaborated with other artists. He would typically take care of the
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Hans Vlieghe. "Teniers." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 14 March 2017
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He was appointed in 1666 as the keeper of the painting collection of the court and
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Soldiers at Leisure, The Guardroom Scene in Dutch Genre Painting of the Golden Age
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He was known for his harmonious palette, exact drawing and compositional skills.
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Grove Art Online. Oxford Art Online. Oxford University Press. Web 14 March 2017
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Curiosity and Identity in Cornelius Gijsbrechts' Trompe L'oeil Studio Walls
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while the collaborating artist painted the landscape. An example is the
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65:. He became the keeper of the picture collection of the governor of the
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Dutch & Flemish Paintings: The Collection of Willem Baron Van Dedem
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The Sight of Sound: Music, Representation, and the History of the Body
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In his tavern scenes he shows himself to be a close follower of
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The date and place of his death are not known but it was likely
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castle are other examples of his contributions to the genre.
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and travelled in England where he painted group portraits.
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House and the Tichborne family giving alms (the so-called
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Elegant figures gathering around a table in a courtyard
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Family Portrait said to be of the Van der Witte Family
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Family Portrait said to be of the Van der Witte Family
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Another collaboration was with the landscape painter
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Gillis van Tilborgh II (?Brussels c. 1625-c. 1678),
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182:were. This is clearly visible in
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322:Jan Baptist Tijssens the Younger
287:sitters are similar to those of
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560:, ProQuest, 2008, pp. 30–31
16:Flemish painter (1625–1678)
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759:Flemish landscape painters
239:Balthasar van den Bossche
79:David Teniers the Younger
57:, 'low-life' and elegant
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629:Review of Jochai Rosen,
600:16 December 2014 at the
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396:View of Tervuren castle
338:Van Tilborgh painted a
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391:Guilliam van Schoor
235:Jacob de Formentrou
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83:Guild of Saint Luke
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743:Categories
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174:, just as
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384:Sotheby's
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285:bourgeois
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255:Lawrence
115:painting
49:) was a
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