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scheme was characteristic for 16th-century graphic artists such as Joris
Hoefnagel and Adriaen Collaert, who are known to have been a source of inspiration for Van Kessel's work more generally. This arrangement seems inspired by the cartography of the time, where the maps of the continents are illustrated with a multitude of animals, real and fantastic, and surrounded by borders divided into small scenes with the representation of the planets, the seasons of the year and the four elements, or maps of countries bordered by small vignettes with views of the most important cities. Joris Hoefnagel and Adriaen Collaert were also the direct source for some of the animals painted by van Kessel. Others are copied from paintings by Jan Brueghel the Elder,
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individualized works of high artistic achievement which could be admired in their own right. As objects that depict treasures from different parts of the world and are themselves composed of materials from faraway places, van Kessel's pictures of the continents would have held particular significance for his elite audience of artisans, merchants, connoisseurs and foreign dignitaries. Van Kessel's The four parts of the world is known to have been appreciated by contemporary viewers as a demonstration of his artistic skill and virtuosity, which were qualities that were highly prized by collectors.
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291:. These series dating to the 1660s were composed of four composite pictures made up of 16 miniature oil paintings on copper plates that are arranged around a larger painting, also on copper, and mounted into a compartmentalized ebony cabinet. The centerpieces represent the continents of Europe, Asia, Africa and America through a myriad of figures in ethnic dress and exotic animals. The surrounding plates depict separate cities and geographic areas in which supposedly native flora and fauna are shown.
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260:(Sotheby's 10 November 2014, New York, lot 31). In this composition van Kessel created a dynamic arrangement with insects around a single sprig of rosemary, which gives the illusion that the butterflies and bee are conversing. Despite the absence of a moralizing text, as found in the Archetypa of Hoefnagel, van Kessel's message of nature as a mirror of God’s power would have been clear to his audience.
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much alive and are clearly intended to surprise and delight the viewer upon opening the outer doors. Jan van Kessel started painting these works in the first half of the 1650s and the earliest dated examples were painted in 1653. While some of these works were executed on panel, the majority were painted on copper. Copper provided the smooth surface best suited to his meticulous and detailed finish.
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expensive, exotic woods. Their fronts were divided into multiple compartments. It has been argued that van Kessel created a new type of pictorial type in his series of The four parts of the world by inverting the hierarchy of the materials that make up the cabinet object by elevating the importance of the paintings over the furniture in which they are embedded.
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attributions has been the fact that Jan van Kessel the Elder used two different styles of signature on his work. He used a cursive, more decorative signature for larger formats, which would have been difficult to read in a smaller painting. This practice led to the erroneous assumption that these works were made by two different painters.
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Jan van Kessel specialized in small-scale pictures of subjects gleaned from the natural world such as floral still lifes and allegorical series showing animal kingdoms, the four elements, the senses, or the parts of the world. Obsessed with picturesque detail, van Kessel worked from nature and used
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Jan van Kessel was financially successful as his works commanded high prices and were widely collected at home and throughout Europe. He bought in 1656 a house called the Witte en Roode Roos (White and Red Rose) in central
Antwerp. By the time his wife died in 1678 his fortune seems to have turned
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Van Kessel's grandfather Jan
Brueghel the Elder played a key role in the invention and development of the genre of garland paintings in the first two decades of the 17th century. Garland paintings typically show a flower garland around a devotional image or portrait. Other artists involved in the
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Van Kessel's animal studies distinguish themselves from the dispassionate approach of his predecessors, who arranged the various flora and fauna in rows, as if they were specimens in a collector’s cabinet. Van Kessel put greater emphasis on composition and aesthetic without abandoning an accurate
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Garland paintings were usually collaborations between a still life and a figure painter. Van Kessel would typically paint the surrounding still life while a figure painter was responsible for the figure or other image in the cartouche. His collaborators on garland paintings are believed to have
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Stylistically, van Kessel's views imitate the miniaturist manner of his grandfather Jan
Brueghel the Elder. All of the pictures follow a similar same compositional scheme: a view of a city is seen in the background while a close-up of large animals of various species makes up the foreground. This
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His studies of flora and fauna were often executed in large sets and occasionally served as the drawer fronts of collector's cabinets that were used for displaying objects in
Wunderkammern. Unlike the dried and pinned samples stored within these cabinets, van Kessel’s painted subjects appear very
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family. The panels illustrate the deeds of
Guillermo RamĂłn Moncada and Antonio Moncada, two brothers from the Moncada House who lived at the end of the 14th and beginning of the 15th century in Sicily. Five prominent Flemish artists collaborated on the panels. Of 12 scenes devoted to Guillermo
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Jan van Kessel produced a great number of studies of animals such as insects, caterpillars and reptiles as well as images of flowers and rare objects from all over the known world. He showed himself to be a keen observer and his animal studies were praised in his day for their meticulousness and
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The pictorial theme of the four parts of the world had emerged in
Antwerp’s humanist circles around 1570. It appeared originally in allegorical prints, book publications and pageantry decorations. The theme's great popularity can be understood by contemporary scientific interests. The theme had
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Between 1650 and 1675 van Kessel produced more than 300 paintings on small copper plates, many of which were used for the decoration of cabinets. Where the paintings placed in cabinets were traditionally low quality workshop products, van Kessel's The four parts of the world consists of highly
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and
Wunderkammern in the late 16th and 17th century, inspired the artists of the day to achieve the same in painted form. Jan van Kessel's grandfather Jan Brueghel the Elder had already demonstrated in his work how artists, starting from empirical observation, could represent the world through
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in Madrid of which a few panels are missing. A description that was made of the work in Spain is evidence that the two series were identical in format. The cabinets in which the series are mounted were a specialty of
Antwerp and one of its important luxury good exports. They were made from
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known as a landscape painter. To complicate things further, while he is usually referred to as Jan van Kessel I since he had an uncle also called Jan van Kessel he is sometimes referred to as Jan van Kessel II and his son Jan van Kessel the
Younger as Jan van Kessel III. Another problem for
49:– 17 April 1679, Antwerp) was a Flemish painter active in Antwerp in the mid-17th century. A versatile artist, he practiced in many genres including studies of insects, floral still lifes, marines, river landscapes, paradise landscapes, allegorical compositions, scenes with animals and
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one. Van Kessel's uncle David Teniers the Younger was responsible for all eight panels describing the deeds of Antonio Moncada. These were painted not long after the first part of the series had been finished. Jan van Kessel created the decorative borders framing each episode.
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Attribution of work to Jan van Kessel the Elder has been difficult due to confusion with other artists with a similar name all active around the same time. In addition to his son Jan, there was another Antwerp painter with the name Jan van Kessel (referred to as
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court (then the rulers over the Southern Netherlands) and in Antwerp generally. The earliest specimens of the genre often include a devotional image of Mary in the cartouche but in later examples the image in the cartouche could be religious as well as secular.
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precision. His work in this field reflects the contemporary worldview in which the appreciation of art and nature went hand in hand. That same desire to collect and categorize the natural world, which had given impetus to the creation of the
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Despite their naturalism, the inclusion in the pictures of fantastic animals and beings seems to indicate that the painter did not entirely seek an objective or scientific description but a representation of the exotic as such.
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Jan van Kessel the Elder was a versatile artist who practiced in many genres including studies of insects, floral still lifes, marines, river landscapes, paradise landscapes, allegorical compositions, scenes with animals and
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Grapes, peaches, cranberries, flowers and butterflies, in a porcelain bowl on a wooden ledge; and Grapes, blackberries, cherries, butterflies and a walnut in a porcelain bowl on a wooden ledge
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known primarily for his illuminated manuscripts and still lifes on vellum. Hoefnagel's studies of flowers and insects were engraved and published under the title
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where he was recorded as a "blomschilder" (flower painter). He married Maria van Apshoven on 11 June 1646. The couple had 13 children of whom two,
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Study of insects, butterflies and a snail with a sprig of forget-me-nots; study of butterflies and other insects with a sprig of apple blossom
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and his father Hieronymus van Kessel the Younger, who were both painters. Very little is known about the work of these van Kessel ancestors.
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illustrated scientific texts as sources for filling his pictures with objects represented with almost scientific accuracy.
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for the worse. In 1679 he had to mortgage his house. He had become too ill to paint and died on 17 April 1679 in Antwerp.
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An example of a collaborative garland painting made by Jan van Kessel and David Teniers the Younger is the composition
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W. Laureyssens. "Kessel, van." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 January 2017
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Roses, tulips, an iris and other flowers, in a glass vase on a stone plinth, with butterflies and other insects
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A still life study of insects on a sprig of rosemary with butterflies, a bumble bee, beetles and other insects
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A still life study of insects on a sprig of rosemary with butterflies, a bumble bee, beetles and other insects
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David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion",
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in 1592 in Frankfurt. The book is a collection of 48 engravings of plants, insects and small animals shown
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A World of Materials in a Cabinet without Drawers: Re-framing Jan van Kessels The Four Parts of the World'
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made after studies by Joris Hoefnagel and was very influential on next generations of animal painters.
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Garland Still Life of Flowers Around an Allegorical Image of Putti with Costly Objects and a Mask
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depiction of the individual creature in question. An example of this approach is the work
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Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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Sprig of redcurrants with an elephant hawk moth, a ladybird, a millipede and other insects
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He trained other painters and also his own family members. His pupils included his sons
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movement. The genre was further inspired by the cult of veneration and devotion to
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and Daniel Seghers. The genre was initially connected to the visual imagery of the
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around a cartouche showing a young man blowing soap bubbles, which symbolizes
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The Submission of the Sicilian Rebels to Antonio de Moncada in 1411
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The submission of the Sicilian rebels to Antonio de Moncada in 1411
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as well as from the earlier generation of Flemish painters such as
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Jan Brueghel the Elder: The Entry of the Animals into Noah’s Ark
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Paintings of insects and flowers by Jan van Kessel the Elder
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in Munich is complete unlike the second one which is in the
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Jan van Kessel the Elder was born in Antwerp as the son of
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Arthropods and snakes contorted to spell the artist's name
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1209:El paisaje nĂłrdico en el Prado: Rubens, Brueghel
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527:A still life of flowers, a lizard and insects
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1314:at Wikimedia Commons
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1214:(in Spanish)
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1194:at Sotheby's
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1148:at Sotheby's
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338:and Rubens.
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218:Kunstkammern
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178:genre scenes
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112:Simon de Vos
109:
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76:
51:genre scenes
42:
38:
37:
30:
18:
1333:1679 deaths
1328:1626 births
1264:(in French)
457:Luigi Primo
402:the Elder,
336:Paul de Vos
242:by his son
1322:Categories
1098:(in Dutch)
1032:(in Dutch)
949:References
135:schutterij
459:five and
160:Ferdinand
131:Ferdinand
383:Habsburg
248:ad vivum
1081:at the
973:at the
468:Gallery
448:Catalan
328:Jan Fyt
311:America
287:or the
171:General
47:Antwerp
429:vanity
421:Louvre
268:Africa
445:noble
1171:The
612:tree
443:, a
379:Mary
166:Work
158:and
129:and
73:Life
65:and
156:Jan
127:Jan
41:or
29:'s
1324::
1236:^
1220:^
1199:^
1181:^
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1038:^
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410:.
398:,
394:,
369:,
365:,
334:,
330:,
162:.
118:.
61:,
602:e
595:t
588:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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