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To which part of art history does the famous landscape painter and graphic artist Paul Bril actually belong? Should he be counted among the Flemish painters, out of which he grew, or did he become a European networked Roman? Should he, born in the middle of the 16th century, still be counted among the so-called Mannerists, or is he already a pioneer of the High Baroque? Paul Bril was a distinct landscape painter, who was not so fond of the staffage. This was provided by friends or colleagues, such as his legendary friend Adam Elsheimer. In return, Bril contributed the landscape background to figure painters. It was quite a common practice in the early Baroque that specialists worked together.
A famous example of such collaboration hangs in the Alte Pinakothek in Munich: The Madonna in a Wreath of Flowers by Rubens, with the Flower Glory by Jan Brueghel d. Ä., a very complex work. The Madonna is a picture within a picture, framed by the real imaginary wreath of flowers, which in turn is supported by typical Rubens putti. Such sophisticated interplay is also found in the works of the Roman group. Even art experts find it difficult to distinguish where one artist's part ends and another's begins. Paul Bril was used to working with other artists from his earliest years, when he was barely thirty and found shelter with his older brother Mathijs in Rome. When his brother died early, he finished his brother's fresco commissions and became one of the busiest muralists in Rome with his workshop. He then turned more and more to panel painting, however, as this became increasingly in demand in northern Europe as well. In the artists' colony in Rome, which included Dutch, French and Germans as well as Italians, he was almost something of a central figure. He absorbed suggestions and influenced others. The rather dramatic mannerist tone of his early landscape paintings changed to more quietly elegiac images. An almost meticulous obsession with detail, as in the harbor paintings, gradually gave way to an almost early classicist serenity and generosity. His composed cityscapes, on the other hand, already foreshadow a later early Romanticism. One of his many pupils, Agostino Tassi, is remembered ingloriously, but on the other hand he nevertheless passed on many impulses to Claude Lorrain. Tassi's unforgettable outrage was the rape of the young Artemisia Genteleschi, the most important female painter of the 17th century.
The demand for Bril's paintings remained so great throughout Europe even after his death that it is impossible to classify all of his works beyond doubt. As with his compatriot Rubens, a generation younger, there are all forms of authorship. It takes a great deal of expertise to discern whether a painting is entirely his own work, a workshop painting, a student's work, the work of a successor, or the product of a copyist. Paul Bril became a Roman and lived with his wife Ottavia in the "Eternal City" until his death. He found his last resting place in 1626 in the German Catholic "National Church" Santa Maria dell' Anima.
To which part of art history does the famous landscape painter and graphic artist Paul Bril actually belong? Should he be counted among the Flemish painters, out of which he grew, or did he become a European networked Roman? Should he, born in the middle of the 16th century, still be counted among the so-called Mannerists, or is he already a pioneer of the High Baroque? Paul Bril was a distinct landscape painter, who was not so fond of the staffage. This was provided by friends or colleagues, such as his legendary friend Adam Elsheimer. In return, Bril contributed the landscape background to figure painters. It was quite a common practice in the early Baroque that specialists worked together.
A famous example of such collaboration hangs in the Alte Pinakothek in Munich: The Madonna in a Wreath of Flowers by Rubens, with the Flower Glory by Jan Brueghel d. Ä., a very complex work. The Madonna is a picture within a picture, framed by the real imaginary wreath of flowers, which in turn is supported by typical Rubens putti. Such sophisticated interplay is also found in the works of the Roman group. Even art experts find it difficult to distinguish where one artist's part ends and another's begins. Paul Bril was used to working with other artists from his earliest years, when he was barely thirty and found shelter with his older brother Mathijs in Rome. When his brother died early, he finished his brother's fresco commissions and became one of the busiest muralists in Rome with his workshop. He then turned more and more to panel painting, however, as this became increasingly in demand in northern Europe as well. In the artists' colony in Rome, which included Dutch, French and Germans as well as Italians, he was almost something of a central figure. He absorbed suggestions and influenced others. The rather dramatic mannerist tone of his early landscape paintings changed to more quietly elegiac images. An almost meticulous obsession with detail, as in the harbor paintings, gradually gave way to an almost early classicist serenity and generosity. His composed cityscapes, on the other hand, already foreshadow a later early Romanticism. One of his many pupils, Agostino Tassi, is remembered ingloriously, but on the other hand he nevertheless passed on many impulses to Claude Lorrain. Tassi's unforgettable outrage was the rape of the young Artemisia Genteleschi, the most important female painter of the 17th century.
The demand for Bril's paintings remained so great throughout Europe even after his death that it is impossible to classify all of his works beyond doubt. As with his compatriot Rubens, a generation younger, there are all forms of authorship. It takes a great deal of expertise to discern whether a painting is entirely his own work, a workshop painting, a student's work, the work of a successor, or the product of a copyist. Paul Bril became a Roman and lived with his wife Ottavia in the "Eternal City" until his death. He found his last resting place in 1626 in the German Catholic "National Church" Santa Maria dell' Anima.