DOI Heft:
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DOI Artikel:Kozak, Anna; De Herdt, Jan [Ill.]: Jan de Herdt, a forgotten 17th century Flemish painter
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18902#0096
-47. Jan van den Hoecke, Amor vincit omnia, oil on canvas, Yienna, Kunsthistorisches Museum,
(photographcd from a reproduction)
his compatriots, Herdt continued his artistic studies in Italy. In the 17th century, Flemish
artists travelling south of the Alps, were exposed to a variety of patterns. In the late 1620s, the
last followers of Caravaggio returned home. Since then, the great Lombardian had no longer
inspired later generations of artists travelling to Italy. The painters of large allegorical and reli-
gious compositions, like Jan van den Hoecke, Louis Primo or Frans de Neve, preferred classical
art and the Roman Baroque as their source of inspiration. Minor artists leaning towards natu-
ralism were inspired by the output of van Lear and his circle. It is difficult to say whether the
atmosphere in Herdt’s surroundings was conducive to the development of banibocciata, intro-
duced into Italian painting by his student Everardi, as was observed by Baroncelli who dealt
with the question. Likewise, it would be difficult to vindicate Fiocco’s opinion86 quoted by her
that the atmosphere round the artist might have been conducive to the developinent of Ceruti
naturalist painting or Piętro Belotto’s printmaking. There is no evidence to the effect either
in his output in the Italian period or later. On the contrary, his paintings for Gerusalemme Libe-
rała show that the artist could easily revert to decorative, large-format, allegorical compositions
popular with his imperial sponsors. Like other younger members of St Luke’s guild in Antwerp
(e.g. Jan Erasmus Quellinus the Younger and Adriaen Bloemaert) who went to Italy, Herdt
yielded to the overwhelming influence of north Italian, notably Venetian, art. As for his attitude
towards the chiaroscuro trend in Italian painting, he was affected by the Campis and the artists
-86. M. A. Baroncelli, op. cit., p. 20.
■86
(photographcd from a reproduction)
his compatriots, Herdt continued his artistic studies in Italy. In the 17th century, Flemish
artists travelling south of the Alps, were exposed to a variety of patterns. In the late 1620s, the
last followers of Caravaggio returned home. Since then, the great Lombardian had no longer
inspired later generations of artists travelling to Italy. The painters of large allegorical and reli-
gious compositions, like Jan van den Hoecke, Louis Primo or Frans de Neve, preferred classical
art and the Roman Baroque as their source of inspiration. Minor artists leaning towards natu-
ralism were inspired by the output of van Lear and his circle. It is difficult to say whether the
atmosphere in Herdt’s surroundings was conducive to the development of banibocciata, intro-
duced into Italian painting by his student Everardi, as was observed by Baroncelli who dealt
with the question. Likewise, it would be difficult to vindicate Fiocco’s opinion86 quoted by her
that the atmosphere round the artist might have been conducive to the developinent of Ceruti
naturalist painting or Piętro Belotto’s printmaking. There is no evidence to the effect either
in his output in the Italian period or later. On the contrary, his paintings for Gerusalemme Libe-
rała show that the artist could easily revert to decorative, large-format, allegorical compositions
popular with his imperial sponsors. Like other younger members of St Luke’s guild in Antwerp
(e.g. Jan Erasmus Quellinus the Younger and Adriaen Bloemaert) who went to Italy, Herdt
yielded to the overwhelming influence of north Italian, notably Venetian, art. As for his attitude
towards the chiaroscuro trend in Italian painting, he was affected by the Campis and the artists
-86. M. A. Baroncelli, op. cit., p. 20.
■86