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are painted against a red or pink background. He painted the fur, plumage, paws and eyes of the animals with a free brush. The same animal is in some studies represented in different positions. The species are mixed in studies, but it is rare for furry animals and animals with plumage to be included in the same study. The French painter
312:. He thus represented animals in their natural poses and devoid of any emblematic or similar preconceived notion of the animals. His way of portraying animals has been described as sympathetic with the animals. This was not in line with the prevailing view of animals as simple machines or beasts. His
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paintings and still lifes of weapons. He also painted some landscapes. Since most of his works are undated, it is difficult to establish a chronology for his work. Boel achieved a very high quality in his work. It is believed that a number of his compositions may have had their signature removed so
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workshop. Each of the tapestries represents a different royal residence. Conscious of the value of Boel's animal repertoire, the
Gobelins workshop kept the entire set of Boel's painted and drawn studies numbering 81 in total. They represent mammals, birds, a tortoise, a lobster and a lizard. They
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Boel follows to a large extent the style of his teacher Jan Fijt, in particular in his smaller compositions featuring a hare or a few birds in the open air. Boel's compositions differ from Fijt's works in their restraint and the smoother and more controlled handling of the paint. His palette also
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copied several of his paintings and as a result, it was believed that the original drawings were by
Desportes. It is only after it was confirmed that the originals had been made by Boel that Boel's reputation as an animal painter was re-established. Charles Le Brun used Boel's studies for his own
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factory and became a painter to the king. Pieter Boel revolutionized animal painting by working directly from live animals in a natural setting. He thus arrived at representations of animals showing them in their natural, characteristic poses. He had many followers in France.
164:, the royal tapestry works created in 1663 as well as the decoration of the various new buildings being constructed for the King. To realize these projects Le Brun surrounded himself with a large group of artists including a number of Flemish artists such as the sculptor
127:(wine master) (a title reserved for the children of members of the guild) in 1650–51. He married Maria Blanckaert, daughter of the painter Jan Blanckaert. His wife's mother was a sister of the painters and art dealers Cornelis de Wael (whom he knew from Genoa) and
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in 1674. As the king's ordinary painter, Boel was commissioned to create 'paintings of various animals to be used in the tapestries of the
Gobelins Manufactory. He died on 3 September 1674 of that year. Adam Frans van der Meulen was a witness in the burial act.
196:, an engraver. In 1671 he was a witness to the wedding of Scotin. Van der Meulen's wife was the second witness. Scotin engraved a number of Boel's designs of animals and may also have been the publisher of engravings made by Boel himself.
263:. He learned from these Italian masters to heighten the dramatic effect of his canvases by emphasizing the shadows. He also used red drapes in the background, a Baroque element par excellence, to enhance the atmosphere of his compositions.
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He was baptized in
Antwerp on 10 October 1622 as the son of Jan Boel and Anna van der Straeten. He was member of a family of artists. His grandfather Jeroom had been a painter who was registered as a master in the Antwerp
462:, le fonds des études peintes des Gobelins, catalogue de l'exposition, Paris, Musée du Louvre, 2001, Paris, Éditions de la Réunion des musées nationaux, (Exposition-dossier du département des Peintures ; 60), 2001
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His animal studies were used as models for the animals appearing in the borders and foreground of a series of large tapestries, referred to as 'The Months' or 'The Royal Houses' (Maisons
Royales) produced at the
192:(Accounts of the Royal Buildings), including for providing designs for the Gobelins tapestry works. Boel was closely related to two Flemish artists, who also lived at the Gobelins: Adam Frans van der Meulen and
485:, Université Michel de Montaigne-Bordeaux III, Université Michel de Montaigne-Bordeaux III. Centre de recherches sur le XVIIe siècle européen. Journée d'études, Gunter Narr Verlag, 2003, pp. 159-184
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who was a long-term resident that city and played a pivotal role in giving
Flemish artists arriving in Genoa an opportunity to work. Boel later married de Wael's niece upon his return to Antwerp.
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that they could pass as works by Frans
Snyders or his master Jan Fijt. Only recently a number of still lifes in museums, which were formerly given to Fijt, have been re-attributed to Pieter Boel.
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Pieter Boel revolutionized animal painting. Whereas artists had contented themselves before with making static studies from stuffed animals, Boel drew and painted his animals from life in the
276:(c. 1661, Auctioned at Sotheby's on 7 July 2005, London, lot 10) where Boel is believed to have added the still life on the left and the parrot in the portrait painted by Antwerp painter
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and Jacob
Jordaens, who painted the human figures in his compositions. Conversely, he also added still life elements to other artists' works. This is believed to be the case in the
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Boel was accomplished in large-scale vanitas paintings depicting an abundance of fruit, flowers, game and precious objects. His masterpiece in this genre is the
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Name variations: Peter Boel, Pieter Boel, Pierre Boel, Pietro Boel, Pieter Bol, Pierre Boul, Pierre Boule, he signed 'Peeter Boel' and Petrus Boel
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L'animal au XVIIe siècle: actes de la 1ère Journée d'études, 21 novembre 2001, du Centre de recherches sur le XVIIe siècle européen, 1600–1700
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Pieter Boel, Painter of Louis XIV's
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The Académie Royale de Peinture et de Sculpture: The Birth of the French School, 1648–1793
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He is believed to have traveled to Italy in the 1640s or in 1651. His trip brought him to
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where he formed part of the group of Flemish artists who had congregated around
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became an engraver. After studying drawing with his father he became a pupil of
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Pieter Boel, 'Still Life with Game, a Parrot, a Dog, a Monkey and Fruit'
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influenced a long line of great animal artists, from the painter
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and animal paintings. He moved to Paris, where he worked in the
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Boel is known to have collaborated with fellow Antwerp artists
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Moor with a peacock, young woman with grapes and dead game
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Pieter Boel, 1622–1674, peintre des animaux de Louis XIV
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Fruit, Flowers and a Parrot in a Classical Landscape
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Still life with dead game and songbirds in the snow
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