Venus and Cupid
| Reference: | S42018 |
| Author | Jan MIEL |
| Year: | 1650 ca. |
| Measures: | 105 x 140 mm |
€900.00
| Reference: | S42018 |
| Author | Jan MIEL |
| Year: | 1650 ca. |
| Measures: | 105 x 140 mm |
€900.00
Description
Etching, circa 1650, unsigned.
Depicts Venus seated at the foot of a tree with Amor on her lap. Not described by the repertories, the work is present in the graphic collection of the Rijks Museum in Amsterdam, where it is unattributed, anonymous:
http://hdl.handle.net/10934/RM0001.COLLECT.225032
However, the graphic style and the sign lead us to attribute this beautiful etching to the Flemish painter, but Roman by adoption, Jean Miel. As mentioned, the etching is not included in the corpus of Miel's graphic works described by Bartsch - who, however, does not list several others.
Jan Miel, also called Giovanni Miele or even Giovannino delle Vite (Beveren-Waas, 1599 - Turin, 1663) was a Flemish painter, active in Italy in the group of the School of Bamboccianti whose main exponent was Pieter van Laer. He was among the painters involved in the decoration of the Quirinal Palace, the Royal Palace of Turin and the Palace of Venaria.
Born in Beveren-Waas near Antwerp, in 1636 he moved to Rome, where he joined the group of the Bamboccianti. forming a friendship with Pieter Van Laer. It produces, on behalf of the Pontiff Alexander VII, some frescos to religious subject. In addition, he painted paintings such as Mascherata and Carnevalata and, curiously, he also collaborated in the decoration of Palazzo Barberini, with Andrea Sacchi who despised the themes of everyday life that inspired the Bamboccianti.
In the fifties, Pietro da Cortona called him to join the group of painters ("the most famous painters of those times") involved in the construction of the decoration of the gallery of Pope Alexander VII of the Quirinal Palace.
In 1659 the Duke of Savoy Carlo Emanuele II called him to Turin to take care of the decoration of the Royal Palace of Turin and the Reggia di Venaria, then under construction. At the Reggia di Venaria realized a cycle of frescoes on the vault of the central Hall of Diana and, in the same hall, ten paintings dedicated to the hunts of the duke.
Beautiful proof, printed on contemporary laid paper, trimmed copper, in excellent condition. Very rare.
Bibliografia
Ludovica Trezzani, Miel, Jan, Grove Art Online. Oxford Art Online. Oxford University Press. Web. 23 April 2016; see The Illustrated Bartsch, vol. 1 (1978), p. 318-326.
Jan MIEL (1599, Beveren-Waas - 1656, Torino)
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Jan Miel (1599 in Beveren-Waas – 1663 in Turin) was a Flemish painter and engraver who was active in Italy. He initially formed part of the circle of Dutch and Flemish genre painters in Rome who are referred to as the 'Bamboccianti' and were known for their scenes depicting the lower classes in Rome. He later developed away from the Bamboccianti style and painted history subjects in a classicising style.
He collaborated with many artists in Rome and worked in the latter part of his career in Turin as the court painter of Charles Emanuel II, the Duke of Savoy.
Jan Miel was probably born in Beveren-Waas, but Antwerp and 's-Hertogenbosch have also been suggested as possible birthplaces. There is no information on his training but it is assumed that it took place in Antwerp. The seventeenth century Italian biographer Giovanni Battista Passeri refers to a training by Anthony van Dyck in Flanders but there is no independent evidence for this statement.
Miel's stay in Rome in the period from 1636 to 1658 is documented, but it is possible that he was already there from 1633. In Rome he became a member of the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. For Miel two different bent names are documented: Bieco (which means squint in Italian) and Honingh-Bie (which means honey bee and is derived from the surname 'Miele' by which he was known in Italy and which means 'honey' in Italian).
In Rome he also became linked to the circle of genre painters whose work was influenced by the Dutch genre painter Pieter van Laer and were referred to as 'Bamboccianti'. The Bamboccianti were mainly Dutch and Flemish artists working in Rome who mostly produced small cabinet paintings or prints of the everyday life of the lower classes in Rome and the surrounding countryside. Jan Miel was a vital force in the development of this new tradition in Rome.
Miel became in 1648 the first northern artist to be admitted to the Accademia di San Luca, a prestigious association of leading artists in Rome. A stay of Miel in Northern Italy of around 1654 is documented. From 1658 until his death he resided in Turin, where he was appointed court painter of Charles Emanuel II, the Duke of Savoy.
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Jan MIEL (1599, Beveren-Waas - 1656, Torino)
|
Jan Miel (1599 in Beveren-Waas – 1663 in Turin) was a Flemish painter and engraver who was active in Italy. He initially formed part of the circle of Dutch and Flemish genre painters in Rome who are referred to as the 'Bamboccianti' and were known for their scenes depicting the lower classes in Rome. He later developed away from the Bamboccianti style and painted history subjects in a classicising style.
He collaborated with many artists in Rome and worked in the latter part of his career in Turin as the court painter of Charles Emanuel II, the Duke of Savoy.
Jan Miel was probably born in Beveren-Waas, but Antwerp and 's-Hertogenbosch have also been suggested as possible birthplaces. There is no information on his training but it is assumed that it took place in Antwerp. The seventeenth century Italian biographer Giovanni Battista Passeri refers to a training by Anthony van Dyck in Flanders but there is no independent evidence for this statement.
Miel's stay in Rome in the period from 1636 to 1658 is documented, but it is possible that he was already there from 1633. In Rome he became a member of the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. For Miel two different bent names are documented: Bieco (which means squint in Italian) and Honingh-Bie (which means honey bee and is derived from the surname 'Miele' by which he was known in Italy and which means 'honey' in Italian).
In Rome he also became linked to the circle of genre painters whose work was influenced by the Dutch genre painter Pieter van Laer and were referred to as 'Bamboccianti'. The Bamboccianti were mainly Dutch and Flemish artists working in Rome who mostly produced small cabinet paintings or prints of the everyday life of the lower classes in Rome and the surrounding countryside. Jan Miel was a vital force in the development of this new tradition in Rome.
Miel became in 1648 the first northern artist to be admitted to the Accademia di San Luca, a prestigious association of leading artists in Rome. A stay of Miel in Northern Italy of around 1654 is documented. From 1658 until his death he resided in Turin, where he was appointed court painter of Charles Emanuel II, the Duke of Savoy.
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