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353:. This style of painting typically shows a flower or a fruit garland around a devotional image or portrait. In the later development of the genre, the devotional image was replaced by other subjects such as portraits, mythological figures and allegorical scenes. An example of a collaboration by van den Hoecke on a garland painting is the
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The cartoons of van Hoecke for the
Allegory of Time series were innovative in that they dispensed with the traditional borders of the tapestries, which he replaced by elements of the picture such as piers, entablature and foreground step of the architecture as well as with sumptuous festoons of game,
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There were 45 paintings of van den Hoecke in the
Archduke's collection. This was the largest number of paintings of a Flemish artist in the collection. About half of these works found their way to the Kunsthistorisches Museum, Vienna as the collection was moved to Vienna when the Archduke returned to
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and a number of allegorical pieces. Van den Hoecke returned to his home country with
Archduke Leopold Wilhelm when the latter became the governor of the Southern Netherlands in 1647. He was at the same time a court painter and the conservator of the art collection of the Archduke, which was reported
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of 1634 was painted by van den Hoecke after an oil sketch by Rubens. It was placed at a central position in the centre of the front of the Arch of
Ferdinand during the Joyous Entry. It remained outside for a few months after the event during which it was exposed to the natural elements. As van der
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Hans
Vlieghe, Katlijne van der Stighelen, 'Sponsors of the past: Flemish art and patronage 1550–1700 : proceedings of the symposium organized at the Katholieke Universiteit Leuven, December 14–15, 2001, Faculteit Letteren, Departement Archeologie, Kunstwetenschap en Musicologie,' Katholieke
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Van den Hoecke was a versatile artist producing historical paintings as well as portraits and designs for tapestries. His work combined the achievements of the art of Rubens with 17th-century
Italian Classicism. The artist and his work have only started to attract renewed attention from art
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fowl, fish, flowers and fruit. He was also able to create an illusion of three-dimensional space by extending the architectural elements behind and around the figures. The muted palette of the modelli shows that van den Hoecke was more interested in line and composition than in colour.
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his home country. The large number of van den Hoecke paintings in the collection is probably due to the
Archduke’s preference for the more classicistic style of van den Hoecke. The Archduke also commissioned van den Hoecke to paint copies of Italian artists such as
332:. It is not clear whether the composition is an allegory of peace, as suggested by the figure of Cupid and the traditional title, or rather an allegory of transience (vanities), as indicated by the motifs of the money bag, the armour and the musical instruments.
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studio in the 1630s. He later traveled to Italy where he resided for a decade in Rome. He subsequently worked as a court painter in Vienna and
Brussels. Jan van den Hoecke was a versatile artist who created portraits as well as history and allegorical paintings.
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in
Antwerp on 17 April 1635, the overall artistic design of which was under the direction of Rubens. Jan painted monumental representations for this occasion after designs by Rubens. Of these large-scale works some have been preserved such as the
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For
Archduke Leopold Wilhelm, van den Hoecke further designed the pattern boards for a series of 12 wall tapestries on the motif of vanitas and a series of ten tapestries under the title 'Allegory of Time' (c. 1650):
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Dr Andrew H Weaver, 'Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years' War', Ashgate Publishing, Ltd., 28 Jan 2013, pp.
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historians since the 1970s. A better understanding of the characteristics of his style have led to the re-attribution to van den Hoecke of works earlier given to other collaborators of Rubens such as
316:(Kunsthistorisches Museum) painted at around 1643 shows the same unadorned and austere appearance and contrasts sharply with the glorious and militant portraits of the Flemish Baroque of the 1630s.
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Jan van den Hoecke travelled to Italy where he resided likely from 1635 to 1644 although some extend the period of his stay to 1646. In Italy he seems to have become familiar with the paintings of
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While he was at Rubens' studio he was a frequent collaborator on various major projects of Rubens. He is believed to have collaborated with Rubens on the ceiling decorations for the
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is reflected in his portraits of Emperor Ferdinand III and Archduke Leopold William. His style retained a certain reticence and a stiffness of composition as reflected in his
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Some of these collaborations involved the creation of so-called 'garland paintings'. Garland paintings are a type of still life invented in early 17th century Antwerp by
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and studied the antique. These influences explain the classicizing trends in his later work. In 1644, the artist was accepted in Rome as a member of a select club, the
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As was common in the Flemish art scene at the time, van den Hoecke collaborated with other painters who were specialised in a particular genre. An example is the
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Alternative names: Johannes van den Hoecke, Jan van der Hoecke, Jan Van den Hoecke, Jan van Hoek, Jan van Hoeck, Jan Vanhoek, first name also 'Giovanni' in Italy
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Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art, 1 January 2007
209:. Conversely, the increased knowledge of his unique style has also led to the attribution to other painters of works earlier given to van den Hoecke.
34:(baptised on 4 August 1611 – 1651) was a Flemish painter, draughtsman and designer of wall tapestries. He was one of the principal assistants in
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Jan van den Hoecke was born in Antwerp in July or August 1611 and was baptized on 4 August 1611. He was the son of the painter
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the static composition of which is clearly different from the lively equestrian portraits by Rubens and Anthony van Dyck. A
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GĂĽnther Heinz. "Hoecke, Jan van den." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 July 2014
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255:. The closeness of his style to that of Rubens may have led to the attribution in 1780 to van den Hoecke of the
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363:). In this work Daniel Seghers painted the flowers and van den Hoecke the illusionistic bust of the Archduke.
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carried out some re-touching of the canvas in 1636 before it was offered to Cardinal-Infant Ferdinand in 1637.
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David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion",
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Revue Belge d'Archéologie et d'Histoire de l'Art / Belgish tijdschrift voor Oudheidkunde en Kunstgeschiedenis
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to be one of the largest in Northern Europe and comprised about 1,400 paintings and other artworks.
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Jan van den Hoecke: quelques précisions et nouvelles propositions pour le catalogue de son oeuvre
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His early style with its precise draughtsmanship and closeness to Rubens can be found in his
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of 1637) are visible in the allegorical paintings he produced in Vienna. An example is the
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Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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Zeitgenössische niederländische Malerei in der Sammlung Erzherzog Leopold Wilhelms
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probably in order to complete the Archduke's collection of Venetian artists.
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which have been attributed to his earlier period from 1630 to 1637.
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Ghirlanda di fiori con il ritratto dell'arciduca Leopoldo Guglielmo
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and later developed further by Flemish still life painters such as
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workshop of Everaert Leyniers III. Several other artists such as
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Flower garland surrounding a portrait of Archduke Leopold Wilhelm
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Flower garland surrounding a portrait of Archduke Leopold Wilhelm
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Jan van der Hoecke (Antwerp 1611 – Antwerp or Brussels 1651),
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The influence of Reni’s idealized figure types as well as of
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also worked on the series. Ten preparatory oil sketches ("
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Triumphal Entrance of Cardinal Prince Ferdinand of Spain
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Flemish painter, draughtsman and designer (c. 1611–1651)
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and tentative attributions of work earlier given to
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310:Equestrian portrait of Archduke Leopold Wilhelm
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261:(now attributed to Rubens) when it was in the
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432:The Months
428:The Months
388:The Months
231:oil sketch
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