Jacob Ferdinand Voet
Jacob Ferdinand Voet (* March 1639 (baptized March 14, 1639), † September 26, 1689 in Paris ) was a Flemish portrait painter. He had an international career that brought him mainly to Italy and France. Voet is considered one of the best and most modern portraitists of the high baroque.
Life
Little is known about Jacob Ferdinand Voet's childhood and youth, his education and early career. He was born in Antwerp as the son of the painter Elias Voet. He left Antwerp early and went to Rome , where he lived from 1663 to 1680. Voet became a member of the so-called Bentvueghels , a group of mainly Dutch and Flemish painters in Rome. One of his acquaintances at the time, Johan van Bunnik, later reported that Voet had painted all the members on the whitewashed wall in the Roman restaurant where the Bentvueghels often met. The painting was much appreciated and every time the walls were painted it was left standing.
In Rome, Voet's skills as a portraitist were in great demand, both at the papal court and among the Roman aristocracy, including influential families such as the Colonna and the Odescalchi . He also left a portrait of Christina of Sweden, who resided in Rome, and of her confidante, Cardinal Decio Azzolini . Likewise, rich Europeans who came to Rome on their Grand Tour had him painted.
In 1671/72 Voet received an extensive commission from Cardinal Flavio Chigi to paint young women from the Roman aristocracy. Between 1672 and 1678 he created the first series of 37 portraits of the most beautiful women in Rome ( Galleria delle Belle ) for the Palazzo Chigi in Ariccia , south of Rome in the Colli Albani . He later copied and expanded this series for other Roman and Italian noble families. This sparked a veritable enthusiasm for portraits of young women in Rome and elsewhere. Among Voet's portraits of women, several portraits of the sisters Maria and Ortensia Mancini stand out.
Jacob Ferdinand Voet lived in Rome with the painter and engraver Cornelis Bloemaert . 1678 he was by Pope Innocent XI. banished from the city because in some of his paintings he had depicted well-known society women with 'improper' cleavages (e.g. Maria and Ortensia Mancini). Voet left Rome and is recorded in Milan in 1680. In 1681 he was in Florence, where he worked for the Medici . From 1682 to 1684 he was in Turin. He returned to Antwerp in 1684. According to his biographer Arnold Houbraken (18th century), Voet started his return trip from Turin to Antwerp together with the Dutch painter Jan van Bunnik , whom he already knew from Rome through Cornelis Bloemaert. From Turin they first went to Lyon, where they met the painters Adriaen van der Cabel , Pieter van Bloemen and Gillis Wenix. Then they drove on to Paris (?) In the company of a third painter Jacob van Bunnik , a brother of Jan van Bunnik.
Voet was probably back in Antwerp in 1684, which he left between 1684 and 1686 to go to Paris. There he portrayed some political and military figures such as Michel Le Tellier , the War Minister Louvois and the Marquis d'Humières . Jacques d'Agar was probably his pupil.
Jacob Ferdinand Voet died on September 26, 1689 in Paris in his house on the Quai de Guénégaud.
plant
Jacob Ferdinand Voet specialized in portraits. His early Dutch biographer Houbraken mentions that Voet also painted histories and landscapes, but he had the greatest success with his portraits of members of the aristocracy and church dignitaries. Currently (as of 2018) he is only assigned portraits; History and landscape paintings by him are not known.
Voet's specialty were half-length portraits and chest pieces , in which the entire attention is on the person depicted, who appears against a neutral, mostly dark background. He was able to portray the person very realistically with inspired eyes. Decorative elements of hairstyle and clothing, such as B. and especially the patterns of the then ultra-modern lace are captured accurately and realistically. His paintings appear to be executed with effortless ease and accuracy and with fluid brushstrokes. He was also known for miniature portraits.
It is likely that portrait painters such as Carlo Maratta (1625–1713) and Pierre Mignard (1612–1695), who were active in Rome during his time, inspired him in the elegance of his style, which he combined with typically Flemish attention to detail.
His works were widely distributed through copies by the Roman painter Pietro Veglia and through engravings by the Flemish engraver Albertus Clouwet . The Roman publicist Giovanni Giacomo Rossi published Voet's portraits of cardinals in his Effigies Cardinalium nunc viventum .
- Painting by Jacob Ferdinand Voet
The Marquesa Martha Ghezzi Baldinotti , after 1670
Livio Odescalchi , ca.1675 (Walters Art Museum, Baltimore)
The Cardinal de Retz , 1676 ( National Gallery , London)
Orazio Archinto , approx. 1680–1683 ( National Museum Warsaw )
Cardinal Luis Antonio Fernández de Portocarrero (?) (1635–1709)
Maria Mancini , approx. 1672–1676
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literature
- Voet, Jacob Ferdinand . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940.
- Francesco Petrucci: "Esprit français et technique Italienne". La période française de Jacob Ferdinand Voet, 1685-1689 . In: Revue de l'art 132, 2001, pp. 67-75.
- Cristina Geddo: New light on the career of Jacob-Ferdinand Voet . In: The Burlington magazine 143, 2001, pp. 138-144.
- Adriano Amendola: Quando ad esser ritratta è Venere. Nuovi documenti d'archivio su Maria Mancini, Jacob Ferdinand Voet e Filippo Parodi In: Storia dell'arte NS 15 = 115, 2006, pp. 59–76.
Individual evidence
- ↑ Name variants: Jacques Foué, Giacomo Ferdinando Voet, Jacobus Ferdinandus Voet, Ferdinand Vouet, Jacques Vouet, Ferdinand Voet.
- ^ A b Jacob Ferdinand Voet, Portrait of Diane-Gabrielle Damas de Thianges Mancini , at the Jean Mustust art dealer.
- ↑ a b c d Johan van Bunnik in: Arnold Houbraken: De groote schouburgh der Nederlantsche konstschilders en schilderessen , 1718.
- ^ A b Il Museo di Roma racconta la città. Guide to breve. Catalogo della mostra , Museo di Roma, Gangemi Editore, Rome p. 33.
- ↑ a b Jacob Ferdinand Voet (1639-1689) at the National Portrait Gallery
- ^ Renata Ago: Gusto for Things. A History of Objects in Seventeenth-Century Rome , University of Chicago Press, Chicago 2013, p. 152.
- ↑ a b c d Jacob Ferdinand Voet in the Prado's Online Encyclopaedia .
- ↑ D. Brême: Agar, Jacques d ' . In: Grove Art Online. Oxford Art Online . 5th December 2014.
- ↑ a b Portrait of Hortense Mancini, Duchesse Mazarin, c. 1670; Circle of Jacob Ferdinand Voet ( Memento of the original dated December 11, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at Roy Precious - Antiques & Fine Art.
- ↑ Portrait of a Gentleman with Lace Collar ( Memento of the original from December 10, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the Wakefield Art Gallery
Web links
| personal data | |
|---|---|
| SURNAME | Voet, Jacob Ferdinand |
| BRIEF DESCRIPTION | Flemish portrait painter |
| DATE OF BIRTH | baptized March 14, 1639 |
| DATE OF DEATH | September 26, 1689 |
| Place of death | Paris |