FLEMISH, ART. - By the term Flemish art is meant the complex of artistic manifestations proper to the southern Netherlands, that is, to the territory that broadly coincides with that of present-day political Belgium; the artistically preponderant regions were the counties of Flanders (with Bruges and Ghent), of Hainaut, but also of Artois, the duchy of Brabant (Brussels, Louvain, Hal, Antwerp), Limburg (Maaseyck, Tongres) and the region of the Meuse (with Liège, Namur). The relations of Flemish art with the art of the neighboring regions of northern France, of the lower Rhine and especially of the northern Netherlands (Holland) are many, so that at times a clear distinction must be excluded between the production of Flemish artists working in their homeland and that of artists active in neighboring countries. On the other hand, while numerous Dutchmen worked in Flanders, many Flemings contributed to making the court of Burgundy artistically important at the end of the 14th century and in the 15th, and many practiced their art also in Italy from the late 16th century onward.
There are two periods in which Flemish art, always important, takes a preponderant place in the general development of European art, and this always in painting. During the 15th century, in the period that follows the transition from late Gothic to a more pronounced naturalism, that is, in the period comprised between the production of the van Eycks and that of the successors of Rogier van der Weyden; and in the 17th century, through the work of the vast group of painters active around Rubens and Van Dijck. Moreover, of the highest importance are: late-Romanesque and Gothic Flemish goldsmith work, as well as the miniaturists of the late 14th and early 15th centuries. The manufacture of tapestries from the 15th century up to the 18th also had notable importance in the framework of European art.
Of the church architecture of the Romanesque age there remain - besides the small constructions of Waha and Celles - parts in the subsequent Gothic constructions of the cathedral and of St-Quentin of Tournai, of the cathedral of St. Salvator's of Notre Dame of Bruges, of St. Gudula of Brussels, of St-Vincent of Soignies, of St-Barthélemy at Ste Croix of Liège, of Ste-Gertrude of Nivelles, etc. The Cistercian churches of Ovral, Villers, and Aulne anticipate aspects of the Gothic style.
Among the most significant testimonies of the late Romanesque (or early Gothic) style are to be placed the precious reliquaries of the region of the Meuse; that of Tournai, executed in 1205 by Nicolaus of Verdun, a master already active before 1200 with masterpieces such as the reliquary of the Magi of the cathedral of Cologne, that of Siegburg, the altar of Klosterneuburg in Austria (1181) and the bronze candelabrum "Trivulzio" of the cathedral of Milan. Nicolaus was preceded by Godefroid de Claire, and followed by other masters of the Mosan school who worked enamels, such as Hugo of Oignies (Namur reliquary) and by the masters of the reliquaries of St. Eleutherius-Tournai (1247), of St. Remaclus-Stavelot (1265), of Nivelles (1272-98: pure Gothic). Of 1113 is the copper baptismal font of St-Barthélemy of Liège; Romanesque sculptures are found in the churches of Liège, Tournai, Ghent, etc. Famous are the ivories of the Liège-Metz school. Among the pre-Gothic miniatures mention should be made of the Evangelistary of St. Livinus at Ghent (St. Bavo); the mss. 974
(Prudentius) = 3558 (calendar of 354) of the Library of Brussels, where there are important copies of ancient paintings. The series of illuminated codices then continues uninterrupted down to the late French-influenced Gothic, among which notable are those of the miniaturists active at the court of Burgundy, at the time when the Van Eycks were beginning to work. The Gothic churches are numerous; besides those mentioned above we recall: Bruges (Sts Michel et Gudule, Notre Dame), Tongeren, Tournai (St-Nicolas, St-Jacques), Oudenaarde, Ghent, Liège (St-Paul and St-Jacques), Antwerp (cathedral), Hal, Mons - in part with sculptures that prepare the way for the art of Sluter - etc. As a sign of the wealth of that city, the Gothic town halls of Ghent, Ypres, Brussels, Louvain, Mons, Tournai, Oudenaarde etc., as well as the episcopal palace of Liège.
No Flemish painter before the Van Eycks had equal European importance. The most significant had been M. Broederlam, active besides at Ypres, his native city, with the sculptor Sluter at the court of Burgundy, while a Giovanni di Bruges had designed cartoons for the tapestries of Angers: the most extensive cycle of Gothic tapestries preserved. Little is known of the masters of Jean Mansel, of Guillebert de Mets, Jacques Coëne. With the brothers Hubert and Jan van Eyck, and their Ghent Altarpiece, one of the most eminent masterpieces of European art, begins that very rich uninterrupted chain of great Flemish painters, which made, for more than two centuries, of Flemish art one of the liveliest centers of European painting. The most important painters of the 15th century are: Petrus Christus, a direct follower of Jan van Eyck, master at Bruges in 1444, and died there in 1472; Robert Campin, born around 1379, active at Tournai and died there in 1444; his pupil Jacques Daret, mentioned in 1404-68 and from 1432 master at Tournai; the Master of Flémalle, identified by some with Campin, by others with the young Rogier van der Weyden; Rogier van der Weyden, born at Tournai ca. 1399 and died in 1464; Justus of Ghent (Joos van Wassenhove) who worked at the court of Urbino; Hugo van der Goes of Ghent, d. in 1482; Dierick Bouts, of Dutch origin, born at Haarlem around 1420, and died in 1475, active at Brussels and Louvain; Hans Memling, born a German, but who lived at Bruges, between 1435 and 1494; Gerard David, born a Dutchman, influenced by H. van der Goes and by Memling, active at Bruges, was born after 1455, and died in 1523.
The Flemish art of the Renaissance oriented itself at once toward a rich and sometimes complicated mannerism, under strong Italian influences; the principal artists lived between Brussels and Antwerp, and had frequent contacts with Dutch artists. At Brussels: Jan Gossaert Mabuse (ca. 1478-1535); Bernaert van Orley (1492-1542); L. v. Valckenborch (ca. 1540-1625); Colin de Coter; at Antwerp: the Brueghel family (v.); Joos van Cleve (d. in 1540); Quentin Massys (1466-1530, from Louvain); P. Aertsen (1508-75 from Amsterdam) with M. v. Roymerswaele and J. v. Hemessen; Pieter Coecke van Aelst 1502-50; Joachim de Patinir (1475-1524); Cornelis and Frans de Vriendt (Floris, before 1520-70, also a theorist of architecture); Joachim Bueckelaer (ca. 1533-73); M. de Vos (1532-1603); the two Pourbus portrait painters, of whom the younger (1509-1622) was active also at Mantua. Also A. Moro, Dutch by birth and who lived between 1512 and 1576, was a portrait painter. At Bruges: active were J. Prevost of Mons, d. in 1529, who worked also at Antwerp; A. Isenbrant (pupil of G. David), d. in 1551; Lancelot Blondel who was also a sculptor; P. de Witte, called Candido (1548-1628), pupil of Vasari, active also at Florence and Rome, and in Bavaria; in Italy there worked, besides the aforementioned Floris etc.: M. Coxie (1499-1502) and M. P. Brill (1530-84; 1554-1626) active at Rome; D. Calvaert (1540-1619) who worked at Bologna, influencing Reni and other Bolognese; Martin de Vos (1532-1603) and L. Toeput Pozzoserrato (1550-97) who worked at Venice; the Bilivert, and the Stradano (1523-1605) active at Florence and many others down to Rubens, van Dijck, Sustermans, etc. One of the principal "Romanists" was L. Lombard, with Coecke and Blondel, who exercised a profound influence on Flemish architecture and sculpture. In Spain Juan de Flandes worked
(phot. Jules Masters)
FLEMISH, ART - Incipit of Book XI of the City of God, translated into French. Manuscript illuminated around 1445 for J. Chewot, bishop of Tournai, by the friar Cottin of Tournai kneeling at the foot of the sovereign's throne - Brussels, Royal Library, no. 9015, 16.
died before 1519. In architecture during the Renaissance the Italian influence becomes more pronounced, especially in the Jesuit churches at Ghent, Antwerp, Bruges, Louvain, Namur. Architects such as Venc. Coebergher (1561-1634; church of Montaigu), P. Huyssens (1577-1637); Jac. Francquart (1582-1651) continue in the late Renaissance, especially at Antwerp, the architectural forms that Lombard and Floris (works at Tournai, Gheel, etc.) had prepared. The same holds for the sculpture of the Renaissance and then of the Baroque age, which had notable artists in Jean Monc (late 15th c. - ca. 1549); J. Dubroucq (ca. 1500-84, works at Hal, Mons); A. Quellinus the Elder and the Younger (1609-68; 1625-1700); the Verbruggens; P. Duquesnoy (1594-1643), also active in Rome; L. Delvaux (1696-1778), working under the influence of Bernini.
But it was once again painting that gave Flemish art European importance during the 17th century with P. P. Rubens (1577-1640; v.) a pupil of Othogenio v. Veen (1558-1629) and his greatest followers, with A. van Dijck (1599-1641) and J. Jordacq (1593-1678), and around these masters schools and groups of artists formed who expressed themselves with penetrating naturalism and a great sense of movement, always good and often bold colourists: among the landscape painters after the Brueghels, Valckenborch, Coninelco, Vinckebcons are to be remembered: J. v. F. de Momper (1564-1635); G. de Witte; S. Vranex (1573-1647); R. Savery (1576-1650); J. Wildens (1586-1653); L. v. Uden (1595-1672); J. Siberechts (1627-1703); J. F. Millet (1642-1679); C. Huysmans (1648-1727). Among the portrait painters: F. Pourbus (1569-1622); Corn. de Vos (1585-1651); Philippe de Champaigne (later in Paris: 1602-74); G. Coques (1614-84). They painted in general sacred and genre scenes: G. Seghers (1591-1651); G. de Crayer (1584-1669); Th. Rombouts (1597-1637); C. Schut (1597-1655); G. Douffet (1594-1660); Th. v. Thulden (1606-70); A. Brouwer (1605-ca. 1638) and D. Teniers the Younger (1610-90) with Ryckaert, Craesbeeck, Tilborch etc.; A. F. van der Meulen (painter of battles: 1632-90); G. de Lairesse (1640-1711). Among the painters of animals and still lifes let us recall: Fr. Snijders (1579-1657); P. de Vos; J. Fyt (1611-61). Important, especially around Rubens, are also the engravers and woodcutters: L. Vorsterman, the two Bolwerts, Cr. Jegher, Dirk Vellert, P. Pontius, van Dijck himself. Meanwhile the art of tapestry continues at Brussels, Tournai, Audenarde, Antwerp and in part on designs by Rubens, his school, Teniers etc. Stained-glass windows are also made on designs by D. Vellert; and porcelain is worked at Tournai and lace at Brussels.
For the 19th century one must content oneself with a few indications: outstanding among the ranks of 19th-century artists, as painters of historical scenes, are G. Wappers (1603-74); A. Wiertz (1606-65); H. Leys (1615-69); Ch. De Groux (1625-70); as a naturalist painter A. Stevens (1623-1606); as an illustrator F. Rops (1633-98); C. Meunier (1631-1605), sculptor, of new social tendencies; and James Ensor (1650-1648) one of the protagonists of modern painting and graphic art. Among the pointillists Th. van Rysselberghe had a name, among the Expressionists C. Permeke, among the sculptors G. Minne (b. 1866). Architecture turns, after the historicism of an L. Suys and a J. Poelaert, toward Holland, Germany, France with Henry Vandevelde, V. Horta, V. Bourgeois, G. v. Rysselberghe. - See plates LXXXI-LXXXII.
Bibliography15 works
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Bernardo Degenhart