Wikipedia

Bernard van Orley: Difference between revisions

Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
m →External links: More precise template, replaced: {{Authority control}} → {{ACArt}}
 
(25 intermediate revisions by 20 users not shown)
Line 1:
{{Short description|Flemish artist}}
{{Infobox artist
| bgcolour =
| name = Bernard van Orley
| image = Bernard van Orley - Self-portrait on Exterior Panel of Triptych of Virtue of Patience.jpg
| imagesize image_size = 240px
| caption = ''Self-portrait'' from the ''Triptych of the Virtue of Patience''
| birth_name = Bernard van Orley
| birth_date = between 1487 and 1491
| birth_place = [[Brussels]]
| death_date = 6 January 1541
| death_place = Brussels
| nationality = [[Flemish people|Flemish]]
| field known_for = paintingPainting, tapestry cartoons, stained glass
| training = fatherFather's workshop
| movement = [[Northern renaissanceRenaissance]]
| works notable_works = Hunts of Maximilian tapestries
| patrons = [[Margaret of Austria, Duchess of Savoy|Margaret of Austria]]
| influenced by = [[Jan van Eyck]], [[Raphael]]
| influenced = [[Pieter Coecke van Aelst]], [[Michael Coxcie]]
| awards =
}}
Line 31 ⟶ 29:
==Family==
[[File:Barend van Orley - Portrait of Charles V - Google Art Project.jpg|thumb|''Portrait of [[Charles V, Holy Roman Emperor|Charles V]]'', 1519]]
His family came originally from Luxembourg, descendants from the Seigneurs d'Ourle or d'Orley.{{citation needed|date=May 2023}}His branch of the family then moved to the [[Duchy of Brabant]], where his father Valentin van Orley (ca. 1466 - Brussels 1532) was born as an illegitimate child and lost his noble lineage. Bernard and his brother Everard (who would also become a painter) were both born in Brussels.
 
The painted wing panels of the sculpted Saluzzo [[retable]] are attributed to Valentin van Orley, describing the ''Life of St. Joseph'' (ca. 1510). The retable itself is [[Gothic art|Gothic]] in style, but these wing panels already show some characteristic of the [[Renaissance]] style (City Museum of Brussels). The panels of the ''Life of St. Roch'' in the [[Saint James' Church, Antwerp]] have been ascribed to Everard van Orley.
Line 48 ⟶ 46:
 
In his early works he continued the traditions of [[Jan van Eyck]], [[Rogier van der Weyden]] and their followers, but then he gradually began integrating the Italianate motifs of the Renaissance, representing figure types and the spatial relationship such as found in the works of [[Raphael]].
 
[[File:The Martyrdom of Saint John the Baptist - MET LC-2001 216 3 Suppl 2.jpg|thumb|''The Martyrdom of Saint John the Baptist'']]
Around 1514–1515, he painted ''The Martyrdom of Saint John the Baptist'', part of an altarpiece for the [[Marchiennes Abbey|Benedictine abbey church of Marchiennes]], likely commissioned by its abbot, Jacques Coëne. The panel painting depicts the [[beheading of John the Baptist]], with [[Salome]] dancing at [[the Feast of Herod]] in the background. It is now on display at the [[Metropolitan Museum of Art]] in [[New York City]].<ref>{{cite web |title=''The Martyrdom of Saint John the Baptist'' |url=https://www.metmuseum.org/art/collection/search/440209 |publisher=[[Metropolitan Museum of Art]]}}</ref>
 
In 1515 he was asked to take over the commission of a triptych for the Brotherhood of the Holy Cross in a chapel in the Sint-Walburga church in [[Veurne]]. He finished and delivered it in 1522. The left panel is on display in the Royal Museum of Fine Arts of Belgium. The front shows Saint Helena meeting the pope in an architectural setting of Renaissance buildings and Italianate motifs. The back is a [[grisaille]] painting of Christ falling under the Cross. The right panel is on display in the [[Galleria Sabauda]], Turin, showing [[Charlemagne]] receiving the relics of the Passion.
Line 73 ⟶ 74:
He usually represented saints in a full-length portrait, such as his ''Mary with Child and John the Baptist'' (Museo del [[Prado]], Madrid), with a background of an open colonnade, a [[baldachin]] or a set of trees. This type of composition can be found in many 16th-century paintings.
 
Bernard van Orley often signed his paintings, especially in his early period before 1521, with the coat of arms of the Seigneurs d'Orley: [[argent]] two pallets [[gules]]. It had been contended that these are the signature of his father Valentin .<ref>{{cite journal|author= S. Hartveld | title = Valentin van Orley| journal = The Burlington Magazine for Connoisseurs |volume = 69| issue = 405|date=December 1936| pages = 263–265+268–269}}</ref>
 
When [[Albrecht Dürer]] visited the Netherlands in 1520 to be present at the coronation of the new emperor, Charles V, he called Bernard van Orley "the Raphael of the Netherlands". Dürer, who stayed as a guest in van Orley's house between 27 August and 2 September 1520,<ref>[{{Cite web |url=http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm |title=Studies in Western Tapestry] |access-date=13 March 2007 |archive-date=13 July 2007 |archive-url=https://web.archive.org/web/20070713231118/http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm |url-status=dead }}</ref> also drew a [[:File:Albrecht Dürer - Presumed portrait of Bernard van Orley.jpg|portrait]] which some scholars identify as van Orley.<ref>[https://art.rmngp.fr/fr/library/artworks/albrecht-durer_portrait-de-bernard-van-orley_pierre-noire Albrecht Dürer (30 mai 1471 - 16 avril 1528), ''Portrait de Bernard Van Orley''] at the Louvre</ref> Dürer had a profound influence on van Orley who in his later works tried to find a synthesis between Dürer and another Renaissance master, Raphael.<ref name = Dacos />
 
Some important pupils of van Orley were [[Michael Coxcie]], [[Pieter Coecke van Aelst]] and [[Pieter de Kempeneer]], who continued in the style of [[Romanism]]. Other pupils, such as [[Lancelot Blondeel]] and [[Jan Vermeyen]] continued in the painter-designer tradition of their master.
Line 89 ⟶ 90:
One of the first tapestry cartoons ascribed to him were the four cartoons for the ''Legend of Our-Lady-on-the-[[Sablon (Brussels)|Zavel]] (Legend of Notre-Dame on the [[Sablon (Brussels)|Sablon]])'' (1516–1518), commissioned by Frans van Taxis. One of them represents the patron and two emperors, [[Maximilian I, Holy Roman Emperor|Maximilian I]] and his father [[Frederick III, Holy Roman Emperor|Frederick III]]. This is an allusion to the [[Thurn und Taxis|postal contract obtained by Frans von Taxis]], giving him a monopoly for the postal system between Brussels and the rest of the empire. The style of these tapestries is traditional with an overcrowded composition set in a two-dimensional plane.
 
From the 1520s on, under the influence of the [[Raphael cartoonsCartoons|Raphael tapestries]] woven at Brussels for [[Pope Leo X]], van Orley's tapestries began to increasingly resemble paintings, more in line with the aesthetics of the Renaissance,<ref>{{cite journal|author = Michael C. Plomp| yeardate = Fall 2003|title= Pilate Washing His Hands|journal = Metropolitan Museum of Art Bulletin|volume = LXII| issue =2 }}</ref> as can be seen in his ''Passion'' series - one set in the [[Royal Palace of Madrid]] and the other set dispersed over several museums - and the ''Lamentation'' in the [[National Gallery of Art]], Washington, D.C. These tapestries, some woven by Pieter de Pannemaeker, clearly show the influence of the tapestry cartoons of [[Raphael]] and the work of Dürer in the rendering of the figure types. Since Dürer had been a guest in the house of van Orley at the time the contracts for these tapestries were signed, it is possible that the two artists may have discussed the design. For the first time in "Passion" tapestries, the figures received dramatic weight through their large size and their position in the foreground.<ref>[{{Cite web |url=http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm |title=Studies in Western Tapestries] |access-date=13 March 2007 |archive-date=13 July 2007 |archive-url=https://web.archive.org/web/20070713231118/http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm |url-status=dead }}</ref>
 
<gallery class="center" widths="300" caption="Battle of Pavia Tapestries">
File:Manif. di bruxelles su dis.di bernart von orley, arazzi della battaglia di pavia, fuga dei francesi e diniego degli svizzeri, IGMN144485, 1526-31.JPG|1
File:Manif. di bruxelles su dis.di bernart von orley, arazzi della battaglia di pavia, cattura di francesco I di francia, IGMN144489, 1526-31.JPG|2
File:Manif. di bruxelles su dis.di bernart von orley, arazzi della battaglia di pavia, attacco alla gendarmeria francese, IGMN144483, 1526-31.JPG|3
La batalla de Pavía, tapiz basado en una pintura de Bernard van Orley.jpg|4
Manif. di bruxelles su dis.di bernart von orley, arazzi della battaglia di pavia, sconfitta della cavalleria francese, IGMN144484, 1526-31.JPG|4
File:Battle of Pavia.jpg|5
File:Manif. di bruxelles su dis.di bernart von orley, arazzi della battaglia di pavia, sortita e annegamento degli svizzeri nel ticino, IGMN144488, 1526-31.JPG|6
Line 108 ⟶ 109:
In his later years (1521–1530) he made the twelve small cartoons (also called by their French name ''petits patrons''), perhaps with the help of Jan Geethels,<ref>[http://www.ethesis.net/jacht/jacht_hfst_3.htm#_ftn647 Het edele vermaak. De jacht in de Spaanse Nederlanden onder de Aartshertogen. (Philippe Liesenborghs)] (in Dutch)</ref> for his best-known tapestry series, ''The Hunts of Maximilian'' ([[Louvre]], Paris). Each of the twelve tapestries represented a different month of the year. They were commissioned by emperor Charles V or someone at the imperial court. It took two years and sixty weavers to realize them. These hunts took place in the vicinity of Brussels or in the [[Sonian Forest]]. In the cartoons the rigidity of the composition makes way to a greater dynamism. He displayed his talent for depicting large-scale scenes of imaginary hunts within a realistic, picturesque, and minutely detailed landscape. For this project, van Orley sought the help of specialists in hunting and consulted the ''Livre de Chasse'' (''Hunting Manual'') by [[Gaston III of Foix-Béarn|Gaston Phoebus]].<ref>[http://classes.bnf.fr/phebus/pistes/index6.htm Livre de Chasse]</ref> With those cartoons he, and also Johannes [[Stradanus]], set an example for their followers by opening up new paths in Italianism with their classic breadth and ease in transforming the rendering of landscapes,<ref>Rosaline Bacon, ''Great Drawings of the Louvre: The German, Flemish and Dutch Drawings'' Braxiller, New York 1968</ref> successfully integrating it into Netherlandish traditional modes. This dynamism would reach its peak in the [[Baroque]] style and the work of [[Peter Paul Rubens]]. The [[iconography]] of hunting parties would be greatly imitated by the tapestry workshops of the Leyniers family - especially Everaert Leyniers (1597–1680) - the leading dyers and weavers in Brussels for over four hundred years.
 
Another famous set of tapestries were commissioned by [[Henry III of Nassau-Breda]] at about 1528-15301528–1530. They were to glorify the ancestors of the [[House of Nassau]]. The tapestries were lost in a fire in 1760, but the cartoons still exist and are in the collection of the [[Metropolitan Museum]] (New York). These tapestries were among the first to unite equestrian portraiture with more informal group portraiture.
 
The ''[[Battle of Pavia]]'' is another set of seven tapestries on display in the [[Museo di Capodimonte]] (Naples, Italy), while the seven small cartoons are owned by the [[Louvre]], Paris. In these tapestries, Bernard van Orley created a detailed historical authenticity on a grand scale, with life-size figures within imagined surroundings.
Line 115 ⟶ 116:
 
==Stained glass==
[[File:Bernard van Orley - Johan IV van Nassau and His Wife Maria van Loon-Heinsberg.jpg|thumb|[[JanJohn IV, Count of Nassau-Siegen]] and his wife [[MariaMary of LoonLooz-Heinsberg]]; both were decades dead by 1538-401538–40, when a set of dynastic designs were made in pen with [[watercolour]]]]
At the end of his life he also started designing stained-glass windows. The windows in the north transept of the [[St. Michael and Gudula Cathedral]] in Brussels depict members of the House of [[Habsburg]] ([[Charles V, Holy Roman Emperor|Charles V]] and his wife [[Isabella of Portugal]]), [[Charlemagne]] and [[Elisabeth of Hungary]], and scenes from the ''Legend of the Miraculous Host'', while the windows in the south transept depict [[Louis II of Hungary and Bohemia]] and his wife [[Mary of Austria (1505-1558)|Maria of Austria]], sister of Charles V, kneeling in front of a vertical [[Trinity]] with [[Louis IX of France|St Louis]] and the Virgin with Child. These windows mark a change in style. The royal dynasty was still embedded within a religious framework, but the donor was now emphasized and not the venerated saint. It was also no longer deemed necessary to legitimize the position of the sovereign by a genealogical tree, as [[Philip I of Castile|Philip the Handsome]], the father of Charles V, was not represented. These windows can be ascribed with certainty to drawings by Bernard van Orley. They were executed by the master glass-worker Jean Haeck.
 
He also designed the stained-glass windows for the [[St Rumbolds Cathedral]], Malines depicting [[Margaret of Austria, Duchess of Savoy|Margaret of Austria]], her third husband [[Philibert II, Duke of Savoy]], and Christ entering Jerusalem. These windows were destroyed during the religious conflicts between 1566 and 1585. In 2004 an unpublished colored drawing of these windows was discovered in [[Valenciennes]] <ref>{{cite journal|author1=Lecocq, Isabelle |author2=Todor T. Petev | title = Le relevé d'un vitrail offert par Marguerite d'Autriche à l'église Saint-Rombaut de Malines et attribué à Bernard van Orley| journal = Revue belge d'archéologie et d'histoire de l'art |year = 2004| volume = 73| pages = 39–61}} [http://cat.inist.fr/?aModele=afficheN&cpsidt=17085295 (abstract online] {{in lang|fr}})</ref>
 
The [[Sint-Bavokerk]] in [[Haarlem]], Holland, also has a set of stained-glass windows designed by van Orley, depicting the donor [[Joris van Egmont]], bishop of [[Archdiocese of Utrecht (695–1580)|Utrecht]] and his patron saint [[Martin of Tours|Martin]].
Line 124 ⟶ 125:
==Other artists in the family van Orley==
Bernard van Orley belonged to a large family of painters, starting with his father:
#Valentin van Orley (1466–1532): Philipp van Orley (ca. 1491-15661491–1566) (designer of tapestry [[cartoon]]s); Bernard van Orley (1492?-1542–1542?), painter and tapestry designer; Everard van Orley (born after 1491), painter; Gomar van Orley, painter (active around 1533).
#Bernard van Orley: Michael van Orley; Hieronymus van Orley I, painter (active around 1567-16021567–1602); Giles van Orley, painter (ca. 1535-15531535–1553)
#Giles van Orley (ca. 1535-15531535–1553): Hieronymus van Orley II (painter and decorator)
#Hieronymus van Orley II: Hieronymus van Orley III, portrait painter, decorator, etcher (documented in 1652); Pieter van Orley (1638-after1638–after 1708), miniaturist and landscape painter; François van Orley, history painter; Richard van Orley I
#Pieter van Orley (1638–1708): [[Richard van Orley|Richard van Orley II]] (1663–1732), painter and etcher; [[Jan van Orley]] (1665–1735), painter and etcher.
 
Line 140 ⟶ 141:
*E. Benezit - ''Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs''; Librairie Gründ, Paris, 1976; {{ISBN|2-7000-0156-7}}
*Farmer, John David. "Bernard van Orley of Brussels." Ph.D. diss., Princeton University, 1981
*Ainsworth, Maryan W., "Bernart van Orley as a Designer Tapestry". Ph. D. dissertation, Yale University, New Haven, Ct., 2 vols., 1982.
*{{cite journal|author = Baldass, Ludwig|author-link = Ludwig von Baldass| title = Die Entwicklung des Bernart van Orley|journal = Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses (Jahrbuch der kunsthistorischen Sammlungen in Wien)|volume= 13 |year = 1944|pages= 141–191}} (in German)
*Alphonse Guillaume Ghislain Wauters - Bernard van Orley; Adamant Media Corporation, 2001, {{ISBN|0-543-90978-6}} (in French)
*Silver, Larry - ''Old-Time Religion: Bernart van Orley and the Devotional Tradition'' 1998, Pantheon 56: 75-8475–84.
*Dessart Ch., ''Bernard van Orley 1488-1541'' (Société Royale d'Archéologie de Belgique), Brussel, 1943,9-10 (in French)
*Holm E., ''Pieter Breugel und Bernart van Orley. Die jagdJagd als motivMotiv in der niederländischen kunstKunst um 1500. (Die jagdJagd in der kunstKunst)'', Berlin, 1964, 9 {{in lang|de}}
*David Starkey (Editor), ''Henry VIII: A European Court in England'', Collins & Brown Limited, 1991, {{ISBN|1-85585-008-7}} Hardback / 1855850133 paperback, page 29 names van Orley in relation to stained glass design supervision
 
Line 152 ⟶ 153:
 
==External links==
{{Commons category|Bernard van Orley-inline}}
*[http://193.190.214.109/webopac/List.csp?SearchT1=VAN+ORLEY&Index1=Index24&Database=2&SearchMethod=Find_1&SearchTerm1=VAN+ORLEY&OpacLanguage=dut&Profile=Default&RequestId=524300_3&QueryId=524300_3&Source=SysQR&PageType=Start&PreviousList=Level1&WebPageNr=1&NumberToRetrieve=10&WebAction=NewSearch&StartValue=0&RowRepeat=0&ExtraInfo=&ItemNr= Collection] {{Webarchive|url=https://web.archive.org/web/20070926225215/http://193.190.214.109/webopac/List.csp?SearchT1=VAN+ORLEY&Index1=Index24&Database=2&SearchMethod=Find_1&SearchTerm1=VAN+ORLEY&OpacLanguage=dut&Profile=Default&RequestId=524300_3&QueryId=524300_3&Source=SysQR&PageType=Start&PreviousList=Level1&WebPageNr=1&NumberToRetrieve=10&WebAction=NewSearch&StartValue=0&RowRepeat=0&ExtraInfo=&ItemNr= |date=26 September 2007 }} in the [[Royal Museums of Fine Arts of Belgium]], Brussels{{dead link|date=October 2016 |bot=InternetArchiveBot |fix-attempted=yes }}
*[http://www.artcyclopedia.com/artists/orley_bernaert_van.html Paintings in other museums]
*[http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm Guy Delmarcel The Passion Tapestries of Margaret of Austria (c. 1518-1524) - New Data and Documents] {{Webarchive|url=https://web.archive.org/web/20070713231118/http://www.studiesinwesterntapestry.net/bib_earticles_delmarcel_passion.htm |date=13 July 2007 }}
*Anna-Claire Stinebring, “[https://publications.philamuseum.org/entries/102177 ''The Adoration of the Magi'' by Bernard van Orley (cat. 400)],” in ''[https://publications.philamuseum.org/jgj/vol1 The John G. Johnson Collection: A History and Selected Works]{{Dead link|date=May 2021 |bot=InternetArchiveBot |fix-attempted=yes }}'', a Philadelphia Museum of Art free digital publication
 
{{Use dmy dates|date=August 2019}}
 
{{Authority control (arts)}}
{{ACArt}}
 
{{DEFAULTSORT:Orley, Bernard Van}}
[[Category:15th-century births]]
[[Category:1542 deaths]]
[[Category:FlemishPainters artistsfrom (before 1830)Antwerp]]
[[Category:Renaissance artists]]
[[Category:Members of the Antwerp Guild of Saint Luke]]
[[Category:Flemish Renaissance painters]]
[[Category:Flemish portrait painters]]
[[Category:Flemish history painters]]
[[Category:Artists from Brussels]]
[[Category:CourtFlemish court painters]]
[[Category:Flemish tapestry artists]]
Retrieved from "https://en.wikipedia.org/wiki/Bernard_van_Orley"