Scultori Fiamminghi
Flemish sculptors in Italy
Egidio della Riviera (attributed to), Three Sleeping Putti © Galleria Borghese, photo: Luciano Romano
Pioneers in the Low Countries
In the early 16th century, pioneers such as Jan Gossaert, Pieter Coecke van Aelst and Cornelis Floris introduced the Italian Renaissance to Flanders. Gradually, Flemish sculptors left the Gothic style behind for good.
In the exhibition, you will be introduced to Jacques Dubroecq, the Low Countries’ first true Renaissance sculptor. After his trip to Italy, this court artist of Mary of Hungary became the first to put into practice what he saw across the Alps. The work of transitional figures such as Jacques Jonghelinck also features prominently in the exhibition.
Jacques Jonghelinck, Sol © Rijksmuseum. Acquired with support from 'Stichting tot Bevordering van de Belangen'
Unknown, Bust of Charles V (1500–1558), ca. 1515-1525, Stad Brugge - Musea Brugge, photo: Cedric Verhelst for M Leuven
Attributed to Jean Mone, Saint Paul the Apostle, 1500-1550, Brussels, Brussels City Museum. King’s House, photo: Cedric Verhelst for M Leuven
Willem Danielsz. Van Tetrode, Horse Tamer and Horse from the ‘Dioscuri di Monte Cavallo’, 1559, Firenze, Museo Nazionale del Bargello, photo: Cedric Verhelst for M Leuven
Attributed to Jacques Jonghelinck, Luna (left) en Sol (right), ca. 1565, Kunsthistorisches Museum Vienna, Kunstkammer and Amsterdam, Rijksmuseum. Aankoop met steun van de Stichting tot Bevordering van de Belangen van het Rijksmuseum, photo: Cedric Verhelst for M Leuven
Fiamminghi across the Alps
The Renaissance made its way to Flanders, but many Flemish artists also made their way to Italy. Giambologna (Jean [de] Boulogne) crossed the Alps never to return. He developed an innovative and influential oeuvre from his studio in Florence. His workshop became a magnet for talent from the North, including Pietro Francavilla, Johann Gregor van der Schardt and Adriaen De Vries. Around 1575, Flemish artists with Italian-sounding names, such as Egidio Della Riviera, Nicolo Pippi and Coppe Fiammingo, were equally influential in Rome.
Due to their unique blend of technical expertise and artistic ingenuity, the influence of these scultori fiamminghi [Flemish sculptors] swept across Europe, from the Scandinavian countries to the Spanish court.
The exhibition concludes with works by the Brussels family of sculptors, Duquesnoy, and the Utrecht-born brothers Robert and Andries De Nole. Their work demonstrates how the Counter-Reformation gave new impetus to religious sculpture at the end of the 16th century.
Francesco Bordoni & Pierre de Franqueville, Captives from the pedestal of the equestrian statue of Henry IV on the Pont Neuf © GrandPalaisRmn (musée du Louvre) / Stéphane Maréchalle
Jacob Cobart (Cope Fiammingo), Tabernacle from the Church of San Luigi dei Francesi, ca. 1585-1595, Roma, Chiesa di San Luigi dei Francesi, photo: Cedric Verhelst for M Leuven
Gillis van den Vliete (Egidio Della Riviera), Fortitude, ca. 1602, Roma, Chiesa di Santa Maria dell’Anima, photo: Cedric Verhelst for M Leuven
Francesco Bordoni & Pierre de Franqueville, Captive from the plinth of the equestrian statue of Henry IV on the Pont Neuf (detail) © GrandPalaisRmn (musée du Louvre), photo: Cedric Verhelst for M Leuven
Francesco Bordoni & Pierre de Franqueville, Captive from the plinth of the equestrian statue of Henry IV on the Pont Neuf (detail) © GrandPalaisRmn (musée du Louvre), photo: Cedric Verhelst for M Leuven
Robert & Andries de Nole, Ignatius van Loyola (detail), BK-BR-989 Rijksmuseum. Bruikleen uit de Koninklijke Verzamelingen
