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the stratification of the foreground, middle ground and distant portions and the romantic rocks of the de Momper school, only occasional perspective into the distance, greater ability to draw the viewer into the image, and above all a harmonization of color with more emphasis on light and the direction of the light: The color scheme, especially in the background, points to later developments in the 17th century such as seen in the works of
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313:. The question has been raised as to whether the change in style is attributable to Fouquier's collaborations with Rubens. No clearly documented works from after the style change are known. There are, however, many authenticated drawings which indicate that at that time Fouquier was much influenced by the classicising trend of the
42:(c. 1590/91 – 1655) was a Flemish landscape painter. After training in Antwerp he worked in various places where he often obtained appointments as a painter to the court including that of the French kings. He earned great success and a very high reputation during his lifetime and was even referred to as the 'Flemish
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Little is known with certainty about the life of
Jacques Fouquier. He was traditionally believed to have been born in Antwerp at about 1580. Wolfgang Stechow was able to show in 1930 that his birth date should be placed around 1590. He came to this conclusion on the basis of an autograph inscription
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in 1627, Toulon and
Marseille in 1629 and Toulon and Aix-en-Provence in 1632 and Toulon in 1633. It seems he was a slow (or even lazy) painter as only in 1632 the citizens of Toulon were able to send the first of his two large paintings to the King. Legend has it that this commission was the cause
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a generation before him. He does not follow van
Coninxloo in the direction of-a more naturalistic display of leaves, but he maintains the abbreviated, schematic treatment of foliage to concentrate rather on the new compositional ideas: uniform space in the foreground and middle ground rather than
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in Paris. He died at the end of 1655 in a room given to him by the painter
Sylvain in the Fauxbourg Saint Jacques in Paris. The inventory of his estate was drawn up on 4 January 1656 at the behest of his creditors. His meager possessions are evidence that he had fallen on hard times at the end of
360:. The prints provide a record of Fouquier's large-scale works that were produced after his move to France, most of the originals of which have been destroyed or not located. They show that throughout his French period Fouquier remained faithful to the style he adopted from 1622 onwards.
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Fouquier was a specialist painter and draughtsman of landscapes. While his paintings are now scarce, drawings from his entire career are preserved in various collections. The city views he made for the King of France are lost as well as a series of grand landscapes he made for the
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to have rendered him so vain, that afterwards he always painted with his sword on his side. On 15 July 1626 the king commissioned him to make plans, paintings and views of landscapes for the Grande
Galerie of the Louvre palace. To execute this commission, Fouquier travelled to
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stated that
Fouquier was the scion of a good family from western Flanders. A signature on an early drawing after Jan Brueghel the Elder indicates that he used the French name at an early age which possibly suggests that his ancestry was a French-speaking community.
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in the summer of 1641. It was provoked by the exacting attitude of
Foucquier vis-Ă -vis Poussin in relation to the decoration of the Grande Galerie of the Louvre palace. Foucquier insisted his landscapes be the principal decorations. In a letter to
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tradition started in the early 16th century. This tradition showed a preference for sweeping views with craggy rocks in the distance and a blue-greenish palette. The influence of this tradition is visible in his earliest known painting, the
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His early work showed the characteristics of the
Northern style prevalent in the late 16th and early 17th centuries as represented by the works of Joos de Momper and Jan Brueghel the Elder, which was still dependent on the
300:) he broke with this tradition by abandoning the wide panoramic landscapes in favour of a narrow focus on the depiction of a dark tree and a group of trees. In this development he followed in the footsteps of
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63:('I.F Jacques Foucquier made me at the age of 13 in the year 1604 on 5 January. There is no documentary evidence to prove his place of birth. The 17th century German Baroque art-historian
110:. He was in charge of the decorative programme for the new 'Englischer Bau' (English building) of Heidelberg Castle, which was purpose-built for the Elector's English bride
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In 1614 he was registered as a master painter under the name
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was one of his pupils. He possibly travelled around 1620 to Italy where he resided for a time in Rome.
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Jacques
Fouquier: Hortus Palatinus and Heidelberg Castle (ca. 1619); Kurpfälzisches Museum, Heidelberg
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Quelques aspects nouveaux de l'oeuvre de Jacques Fouquières (Anvers?, vers 1589 - Paris, janvier 1656)
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At the latest by 1621 he had established himself in Paris, where he became court painter to King
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59:(inv. no. H 465). The drawing contains in the lower right corner the inscription
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The Collector's Cabinet: Flemish Paintings from New England Private Collections
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Many of the works of Fouquier were engraved by contemporary artists including
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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in his landscapes. This did not prevent a collaboration with Rubens on a
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Fouquier lived in 1644 together with Flemish artists Philippe Vleughels,
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in which Rubens painted the satyr and nymph and Fouquier the landscape.
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by Fouquier on a drawing dated 1604 kept in the Art Collection of the
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I.F. jaques foucquier me feciet aetatis suae 13 iaer 1604 5 ianvarer
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Extensive river landscape with the Angel appearing to Balaam's ass
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in: Biographie nationale de Belgique, Volume 20, pp. 913-918
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Landscape with two figures on a road descending through trees
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in: Joost vander Auwera, André Tourneux, Jacques Paviot,
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W. Stechow, 'Drawings and etchings by Jacques Foucquier'
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Liber amicorum Raphaël de Smedt : Artium historia
117:View of the Hortus Palatinus and Heidelberg Castle
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626:Flemish Baroque painters
384:Laurence Quinchon-Adam,
350:Jean-Jacques de Boissieu
205:Matthieu van Plattenberg
156:Paul Fréart de Chantelou
298:Wallraf–Richartz Museum
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342:Jean Morin
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319:Paul Bril
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