Flemish school of the 17th century. Circle of JAN BRUEGHEL THE YOUNG (Antwerp, Belgium, 1601 - 1678) and PIETER VAN AVONT (Belgium, 1600 - 1652). "The

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Jul 14, 2021

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  Flemish school of the 17th century. Circle of JAN BRUEGHEL THE YOUNG (Antwerp, Belgium, 1601 - 1678) and PIETER VAN AVONT (Belgium, 1600 - 1652). "The Coronation of St. Cecilia." Oil on copper. Size: 59 x 79 cm. Saving the fact that Jan Brueghel II was born in Antwerp and Pieter Van Avont in Malines, it is known with certainty that both painters coincided in the first city, which, at that time, thanks to its port condition, was an authentic artistic focus to which a great part of the Central European artists attended. In this context it was common for specialists of different pictorial genres to collaborate in the realization of important works: the tandem formed by Peter Paul Rubens and Jan Brueghel the Elder, the one composed by Hendrick van Balen and Jan Brueghel de Velours or the one comprising the figures of Jan Brueghel the Younger and Pieter Van Avont, give evidence of the success that this type of contributions acquired in 17th century Flanders. The present work, attributed to the latter pair, depicts St. Cecilia, patron saint of music, playing the harpsichord in an open landscape, with a typically Flemish landscape in the background. The presence of the child angels, one of them ready to crown the Saint, emphasizes the sacred character of the representation. Jan Brueghel the Younger was a Flemish painter who specialized in still life and flower painting, although he also worked in landscape, mythological and allegorical scenes. He was an independent artist of great talent, who has sometimes been underappreciated in historiography. The eldest son of Jan Brueghel de Velours, and grandson of Pieter Brueghel the Elder, he probably trained in his father's workshop, and it was also his father who encouraged him to travel to Milan in 1622, to enter the service of Cardinal Frederick Borromeo, from Milan he traveled to Malta and Sicily and in 1625, after receiving the news of his father's death, he returned to Antwerp to take charge of his workshop. That same year he is registered as a master in the Guild of Painters of St. Luke. During these years he sold the paintings left by his father, and successfully completed those he had left unfinished. He also produced a number of small format paintings following his father's style, repeating his father's still lifes, flower garlands, landscapes and allegories. However, he did not do so as a mere copyist, but incorporated novelties and knew how to give his work a particular personal accent.Among his most prominent commissioners we find the French court, which commissioned him a "Cycle of Adam" (1630-31) and the Austrian court, for which he worked in 1651, after which he returned to Antwerp in 1657, where he lived until his death. He is currently represented in the Prado Museum, the Hermitage in St. Petersburg, the Metropolitan in New York, the Kunsthistorisches Museum in Vienna and other museums around the world. A Flemish painter, draughtsman and engraver of the early Baroque period, Peeter van Avont specialized in portraiture, religious (mainly of the Holy Family) and historical subjects, and also made copies of great contemporary masters such as Rubens and Van Dyck. In 1620 he reached the rank of master in the painters' guild of his native Mechelen, although in 1622 we find him already in Antwerp, as a member of the Gilda of St. Luke. Settled in that city, he obtained citizenship in 1631. After marrying twice, van Avont settled in the town of Deurne, near Antwerp, where he finally died in 1652. He frequently collaborated with other masters, a common practice among Central European masters of the time, due to the great specialization by genre that occurred in the Baroque period. Thus, van Avont worked with Jan Brueghel the Elder, David Vinckboons, Lucas van Uden and Jan Wildens, among others. In his workshop he had disciples such as Frans Wouters, who finally went to Rubens' workshop in 1634 to complete his training. Works by Peeter van Avont are currently held in the Kunsthistorisches Museum and the Gemäldegalerie in Vienna, the Alte Pinakothek in Munich, the Royal Collection in London and other public and private collections.lic and private collections.
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