Jan Frans van Bloemen (Orizzonte) Art
Flemish, 1662-1749
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition. Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck, Willem Romeyn and Willem Schellinks. His painted vedute fall into the category of the vedute that combine reality with imaginary elements. His landscapes have an Arcadian lushness, with mountains, streams, distant hamlets, and small inhabitants painted with imprecise pittura di tocco ('painting of touch') using small dotting and spirited brush-strokes. Unlike van Wittel, van Bloemen did not generally depict views of areas distant from Rome such as the Tiber valley or the Alban hills. His subjects were limited to views in the immediate vicinity of Rome, an outline of which was typically visible in his compositions. Van Bloemen was in particular known for his 'estate views' representing the estates of the nobility in the Roman Campagna. His views aim to associate the modern estate view with the classical arcadian landscape. Rather than offering the wide panoramic views, distant horizon and atmospheric effects associated with topographical landscapes, van Bloemen's estate views emphasize minute observation of reality and a limited viewpoint. The estates are thus made to appear as immutable features of the local landscape. He worked together with other painters who painted the figures in his landscapes such as Carlo Maratti, Placido Costanzi and Pompeo Batoni. However, he only relied on such collaboration with figure painters in the last decades of his life when he produced his most ambitious classicising compositions. Even then he only relied on these figure specialists for the most prominent figures in the foreground while he took care of the minor characters. In fact, van Bloemen was an accomplished staffage painter and he was very skilled at quickly learning to imitate the style of his collaborators. As a result, many of the figures in his paintings that are attributed to prestigious contemporaries were actually by his own hand. His landscape drawings, which often depict imaginary ruins, have been confused with those of his brother Pieter, who is better known for his drawings of figures and animals. Jan Frans van Bloemen also made pen drawings of buildings in and around Rome.to
4
2
7
7
2
Two Arcadic Landscapes - J.F. Van Bloemen (follower of) - Oil on Canvas
By Jan Frans van Bloemen (Orizzonte)
Located in Roma, IT
Two Arcadic Landscapes are a couple of original oil paintings by a follower of the Flemish artist, Jan Frans Van Bloemen (1662-1749).
These old master's original paintings represen...
Category
Early 18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil
Wooden Landscape with Shepherds, Fountain and Flock - by Jan Frans van Bloemen
By Jan Frans van Bloemen (Orizzonte)
Located in Roma, IT
Bibliography:
A.Busiri Vici, Jan Frans Van Bloemen Orizzonte e l’origine del paesaggio romano settecentesco, Ugo Bozzi Editore, Roma 1974, n.41
This artwork is shipped from Italy. U...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
Pair of Roman Landscapes - by J.F. Van Bloemen - 18th Century
By Jan Frans van Bloemen (Orizzonte)
Located in Roma, IT
Beautiful couple of Roman Landscape by J. F. Van Bloemen, in very good conditions and with later wooden frames.
Bibliography and Exhibitions:
Old Master Exhibition, H.Terry-Engell, ...
Category
Early 18th Century Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil, Canvas
17th century etching black and white figurative landscape trees buildings
By Jan Frans van Bloemen (Orizzonte)
Located in Milwaukee, WI
"Conversation Outside Castle" is an original etching by Jan Frans van Bloemen. It depicts a number of figures just outside the majestic walls of a castle. These groups of figures are engaged in their own conversations.
9" x 6 3/4" art
21 5/8" x 19 3/8" frame
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Etching
17th century etching black and white figurative landscape trees statues scene
By Jan Frans van Bloemen (Orizzonte)
Located in Milwaukee, WI
"Mother & Child Near Statues" is an original etching by Jan Frans van Bloemen. It depicts two figures, a mother and child pair, next two two classical statues. There are other figures in this park-like environment.
9 1/4" x 6 3/4" art
21 5/8" x 19 3/8" frame
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Etching
17th century etching black and white figurative landscape cityscape buildings
By Jan Frans van Bloemen (Orizzonte)
Located in Milwaukee, WI
"Figures Outside the Monastery" is an original etching by Jan Frans van Bloemen. It depicts people on the path to a church.
7" x 10 1/4" art
19 1/4" x 22 5/8" frame
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Etching
17th century etching black and white figurative landscape obelisk buildings
By Jan Frans van Bloemen (Orizzonte)
Located in Milwaukee, WI
"Figures at the Obelisk" is an original etching by Jan Frans van Bloemen. It depicts two people conversing in front of a monument. Behind them, an expansive landscape sprawls.
9 1/4" x 6 3/4" art
21 3/4" x 19 3/8" frame
Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Etching
Related Items
Very Large Antique French Classical Romantic Oil Painting Ancient Ruin Landscape
Located in Cirencester, Gloucestershire
Artist/ School: French School, 19th century
Title: Classical Landscape with figures amongst ancient ruins.
Medium: oil painting on canvas, unframed.
canvas: 24.5 x 36 inches
P...
Category
19th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil
$2,141 Sale Price
30% Off
H 24.5 in W 36 in
Daniel Marot's The Siege of the Dutch Fortified City of Ypres by Louis XIV
By Daniel Marot
Located in Alamo, CA
"Ypres, Grand Ville Riche & Marchande" is an engraving and etching by Daniel Marot (le Vieux) (1661–1752). It depicts a view of the siege of the city of Ypres and its citadel on the left in the Spanish Netherlands by Louis XIV's troops. This battle took place between March 18 and March 25, 1678, as part of the Franco-Dutch War. Marot illustrated in great detail (best appreciated with magnification) the French attack on the strong pentagonal citadel on the extreme left, which had been built recently in anticipation of a French attack. The trenches built by the French approaching the town are seen on the right. King Louis XIV can be seen in the foreground surveying the battle mounted on his white horse, surrounded by his officers and troops.
The print is presented in an attractive ornate black wood frame with a cream-colored double mat with a black inner trim. It is glazed with plexiglas. The frame measures 25.38" x 22.63" x .88". The engraving, frame, mat and glazing are in excellent condition.
Artist: Daniel Marot (1661–1752) was also called "Le Vieux". He was the son of the famous architect, Jean Marot. Marot had diverse interests and talents. In addition to his art, he designed garden projects, architectural ornaments, furniture, and even upholstery. Marot as a Huguenot protestant was forced to leave France in 1685 following the revocation of the Edict of Nantes. He emigrated to Holland, where he worked for William of Orange (an arch enemy of his former employer Louis XIV). Marot was largely responsible for the interiors of Williams palace at the Loo. In 1694 he went Britain as William had married Queen Mary and he had become King William III of England. He later returned to Holland in about 1698 and died in the Hague in 1752. He left a lasting legacy on the decorative arts in the Netherlands, where his grand version of the Louis XIV style remained popular into the 1730s.
Historical Background: In October 1677, Mary Stuart, niece and possible successor of Charles II of England, married Louis XIV's arch enemy William III of Orange...
Category
Late 17th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Engraving, Etching
$1,275
H 25.38 in W 22.63 in D 0.88 in
Saint John the Baptist Preaching, 18th Century, Old Master, Pittoni, Italian
By Giovanni Battista Pittoni
Located in Greven, DE
Pittoni came from a family of painters and architects. He received lessons from his uncle Francesco Pittoni in Venice and later from Antonio Balestra....
Category
18th Century Baroque Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$5,840 Sale Price
25% Off
H 8.67 in W 12.6 in
Huge 18th Century Flemish Classical Oil Painting Travellers River Landscape
Located in Cirencester, Gloucestershire
Travellers in Landscape
Flemish Old Master, 18th century
oil on on canvas, unframed
canvas : 29 x 39 inches
Provenance: private collection, France
Condition: very good condition
For...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil
$2,044 Sale Price
30% Off
H 29 in W 39 in
Shepherd with Sheep, Cows and a Goat in a Landscape by Jan Frans Soolmaker
Located in Stockholm, SE
Jan Frans Soolmaker (Flanders 1635‑1685)
Shepherd with Sheep, Cows and a Goat in a Landscape
oil on relined canvas
canvas size 56 x 53 cm
frame i...
Category
17th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$5,840 Sale Price
25% Off
H 22.05 in W 20.87 in
Basilica of San Lorenzo in Rome: A Framed 18th Century Etching by Piranesi
By Giovanni Battista Piranesi
Located in Alamo, CA
This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence.
This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art.
This magnificent etching is presented in a brown-colored wood frame and a tan French...
Category
1750s Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Etching
$2,975
H 23.13 in W 33 in D 0.5 in
Landscape Near Felday, Surrey
By Abraham Hulk the Younger
Located in Hillsborough, NC
Dutch/English artist Abraham Hulk the Younger (1851-1922) is most known for landscapes of the British countryside. This work is one of a pair (the second work is also available by s...
Category
Late 19th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$2,240 Sale Price
20% Off
H 27 in W 22.75 in D 2.13 in
Old Master Painting, Flemish School from 1600s, Saint Nicholas of Tolentino
Located in Stockholm, SE
This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...
Category
17th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Copper
$4,043 Sale Price
25% Off
H 9.65 in W 7.29 in
Shipping in Stormy Waters, Attributed to Italian Artist Francesco Guardi
By Francesco Guardi
Located in Stockholm, SE
The splendour of the tragic sea
Francesco Guardi and maritime painting in Venetian art
No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention.
Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person.
Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters.
Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice.
During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto.
The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture.
This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean.
It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world.
In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$47,899 Sale Price
32% Off
H 25.79 in W 29.14 in
VENICE - Gianluca Gorini - Italian Landscape Oil on Canvas Painting
By Giancarlo Gorini
Located in Napoli, IT
VENICE - Italian landscape oil on canvas oval painting cm.30x60 by Giancarlo Gorini, Italy 2002.
Gold gilded wooden frame available o...
Category
Early 2000s Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$4,193
H 11.82 in W 23.63 in
The Road to Emmaus, German Old Master Painting
Located in Stockholm, SE
German School, 1700s
The Road to Emmaus
oil on panel
unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches)
framed: 34.5 x 28 cm (13.6 x 11 inches)
Provenance:
Swedish author and artist Amel...
Category
18th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil, Wood Panel
19th Century English Antique, Two Country farmers drinking beer in a landscape
By George Morland
Located in Woodbury, CT
Attributed to George Morland.
19th Century English Antique, Two Country farmers drinking beer in a landscape.
Wonderful early 19th-century original oil on canvas.
A classic 'Morland' composition as the painter was a big fan of English Pub scenes...
Category
Early 1800s Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Canvas, Oil
$3,160 Sale Price
20% Off
H 20 in W 16 in
Previously Available Items
Landscape with Arcadian Figures
By Jan Frans van Bloemen (Orizzonte)
Located in New York, NY
Provenance:
Purchased in Belgium, 1950s (as by Poussin)
Private collection, 1950s to present
Orizzonte is best known for his Italian countryside scenes, but his early training...
Category
17th Century Old Masters Jan Frans van Bloemen (Orizzonte) Art
Materials
Acrylic Polymer, Canvas, Oil
Landscape with Arcadian Figures
By Jan Frans van Bloemen (Orizzonte)
Located in New York, NY
Jan Frans van Bloemen, called Orizzonte.
Orizzonte is best known for his Italian countryside scenes, but his early training was in Flemish landscape painting. While still fairly ...
Category
18th Century and Earlier Jan Frans van Bloemen (Orizzonte) Art
Materials
Oil, Canvas
Jan Frans Van Bloemen (orizzonte) art for sale on 1stDibs.
Find a wide variety of authentic Jan Frans van Bloemen (Orizzonte) art available for sale on 1stDibs. You can also browse by medium to find art by Jan Frans van Bloemen (Orizzonte) in etching, oil paint, paint and more. Much of the original work by this artist or collective was created during the 18th century and is mostly associated with the Old Masters style. Not every interior allows for large Jan Frans van Bloemen (Orizzonte) art, so small editions measuring 20 inches across are available. Customers who are interested in this artist might also find the work of Anthonie Waterloo, George Morland, and Sir Godfrey Kneller. Jan Frans van Bloemen (Orizzonte) art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,700 and tops out at $54,589, while the average work can sell for $1,700.