67. "His great genius was to make landscapes"
The Roman Years of Herman van Swanevelt (c. 1603-1655)
I Papers del KNIR mirano a offrire uno spazio di discussione a una varietà di studiosi delle discipline umanistiche con lo sguardo rivolto a Roma e/o all’Italia dall’antichità all’età contemporanea. La lingua veicolare è l’inglese, ma in misura limitata ci si avvarrà di contributi redatti in italiano e in altre lingue. La redazione è costituita dai quattro membri dello staff accademico dell’Istituto, a cui si affianca un comitato di redazione composto da studiosi olandesi e di altre nazionalità.
I Papers of the Royal Netherlands Institute in Rome sono editi dal 2017 da Edizioni Quasar e sostituiscono le precedenti pubblicazioni dell’Istituto: Fragmenta. Journal of the Royal Netherlands Institute in Rome (2007-2012) e Mededelingen van het Nederlands Instituut te Rome (1921-2003).
Prof. dr. Harald Hendrix
Dr. Asker Pelgrom
Dr. Jeremia Pelgrom
Dr. Arnold Witte
181 in bn e a colori
Between c. 1629 and 1641, the Dutch-born Herman van Swanevelt lived and worked in Rome. Here he developed into a highly successfull landscape painter, a leader in the new genre of the pastoral landscape. Swanevelt created a novel form of backlighting and atmospheric effects that were particulary successful in evoking meteorological states and times of the day. In this respect, his paintings were similar to, but developed independently from, the landscapes of Claude Lorrain. His work was in high demand amongst important Roman patrons throughout the 1630s, such as the Barberini and the Pamphili families. Simultaneously, he became an accomplished printmarker, making etching that record Rome's countryside and monuments. He left Rome in 1641 for Paris, where his imported Italian manner was equally successful with patrons and emulated by other artists. This book concentrates on the paintings and prints he made during his years in Rome in the context of the city's artistic, social, religious and cultural environment. An analysis of the style, iconography and meaning of his Roman works, their inspiration in Roman art and theory, his artistic connections, his patrons and collectors are all brought to bear on an understanding of his achievements and legacy.
The Roman landscape tradition
Woerden, Paris and Rome: from Bentvueghel to Roman Master
Paintings for the Pamphilj; Old and New Testament and Genre Themes
Paintings from Ovid for Antonio Barberini and other Mythological Themes
In Good Company: Hermit Landscapes and Pastorals for the King of Spain
Swanevelt the Printmaker: ‘… the purest feeling of nature and art’
‘This great landscape painter who most approaches the beautiful manner of Claude
Lorraine’: Swanevelt’s Legacy