Jean le Saive

This article deals with the history, portrait and coat of arms painter Jean le Saive. For other Flemish painters of this name, in particular his son Jean (-Baptiste) le Saive , see Jean-Baptiste le Saive .

Jean I Le Saive (1540–1611), Portrait of Alexander Farnese, 1585 ?, Pinacoteca di Parma

Jean le Saive (also Jean de Namur, Le Vieux Saive ) (* 1540 Saive ?; † 1611 in Namur ) was a Flemish history, portrait and coat of arms painter of the Baroque .

Life

The education of le Saive, who became a citizen of Namur in 1562, is in the dark. From his marriage to Jeanne de Carlemont the daughter Anne and the sons Jean and François were born; the latter was a painter in Antwerp in 1599 .

The first work by Jean le Saive to be recorded in an archive - painting over a crucifix - is dated to 1576. Two years later he made the governor's coat of arms, followed by the collaboration on decorations for the burial of Margarita of Austria in 1581. In 1584/1585 Jean le Saive was probably the official painter of Alexandre Farnèse , as can be seen from the inscriptions “Peintre de Son Altesse ( Excellence) ”(painter of his excellence). Le Saive's work also includes the portrait of the Prince of Parma (1585?), Exhibited in the Parma Pinacoteca . Then le Saive settled in Brussels , where he was looked after by the office of master vineyard manager at the court, which he soon relinquished because he was named "Peintre de son Altesse résident à Namur" (painter to His Highness in Namur) in 1588/1589 painted the coat of arms of Philip II , which adorned the city meat hall. Jean le Saive gained a good reputation as a genre painter. In 1597 he realized a triptych with the central theme "Judgment" for the jury of Namur at his own expense . The wings of this work still exist (exhibited in the Musée Archéologique in Namur), which show the lay judges of Namur on the front and the story of the neglected judge on the back using grisaille technique. The style of these grisailles is similar to that of Lambert Lombard . Le Saive's life has long been confused with that of his son Jean II (sometimes called Jean-Baptiste), particularly by historians A. Siret, A. Bequet, and E. Neeffs. Today, with the exception of the portrait by Alexandre Farnèse, the signed Namur wings are the only paintings by the artist that can be safely said to have been made by him.

Web links

• Jean I Le Saive (1540–1611), Aldermen von Namur, left panel of a triptych (inside), 1597 (Musée de Groesbeeck-de Croix, Namur).
• Jean I Le Saive (1540–1611), The Judge Agony, left panel of a triptych (outside), 1597 (Musée de Groesbeeck-de Croix, Namur).
• Jean I Le Saive (1540–1611), Aldermen von Namur, right panel of a triptych (inside), 1597 (Musée de Groesbeeck-de Croix, Namur).
• Jean I Le Saive (1540–1611), the son of the judge's excuses, makes his decision, right panel of a triptych (outside), 1597 (Musée de Groesbeeck-de Croix, Namur).
• Article on the panels of the triptych (French pdf; 371 kB).

literature

• Bequet, A .: Les deux De Saive, peintres namurois In: Annales de la société archéologique de Namur , Volume VI, 1859, pp. 453-464.
• Courtoy, F .: Le peintre Jean de Saive (1540-1611) In: Namurcum. Chronique de la société archéologique de Namur 1958, n ° 1, pp. 1-12.
• Dupont, P.-P .: L'apport namurois In: Stiennon, J., Duchesne, J.-P. and Randaxhe, Y .: De Roger de le Pasture à Paul Delvaux. Cinq siècles de peinture en Wallonie , Bruxelles, 1988, pp. 116-123.
• Gerard, I .: Un double regard sur 2000 ans d'art wallon , Tournai, 2000, p. 313.
• Siret, A .: Jean de Saive. In: Annales de la société archéologique de Namur , Volume VI, 1859, pp. 303-308.
• Van Sprang, S .: LE SAIVE, Jean I In: Dictionnaire des peintres belges, du XIVème siècle à nos jours. Depuis les premiers maîtres des anciens Pays-Bas méridionaux et de la Principauté de Liège jusqu'aux artistes contemporains , Volume II, 1995, pp. 642-643.

Individual evidence

1. ↑ Dictionnaire des peintres belges: Biography of Le Saive, Jean I (French)