Flemish Art

At the end of the 14th century, French painting, which sprang from the miniature, showed signs of exhaustion. It was revitalized by the contribution of painters from the North who, even before the Flemish school proper had been formed, influenced the destiny of painting to such an extent that one may speak of Franco-Flemish art.

At the end of the 15th century, Antwerp took the place of Bruges as the center of Flemish art, the latter city falling into decay as its port was invaded by silt. A bustling town, Antwerp in the 16th century was a main seat of Humanism and the magnetic pole of the Renaissance in Northern Europe . At an early date, contact with Italy was established, as is proven by the art of Quentin Massys, whose reputation was great and who was much admired by Durer and Holbein. In his triptych of the Holy Kinship, painted in 1509, Massys shows that he was not insensitive to the art of Leonardo da Vinci. In the meantime, Bruges gave Flemish art another great artist. A contemporary of Massys, Gerard David was less aware of the new influences; he continued the serene style of Memlinc, with less mysticism but greater firmness.

During the 16th century, Flemish art had endured fearful tribulations. When Protestantism spread through the Low Countries , Philip II and the cruel Duke of Alba resolved to stamp it out by means of sanguinary repression. The Northern Provinces , after a dogged resistance, succeeded in liberating themselves from Spanish rule and formed a Republic. Thus Holland was constituted. The Southern Provinces, consisting of Flanders and the Walloon country, submitted to their Spanish masters, and Roman Catholicism triumphed. Not counting those who died by the axe or through misery and famine, 60,000 families, including that of Rubens, emigrated to Antwerp . Desolation reigned everywhere.

When the Low Countries were presented as a marriage portion to the Infanta Isabella Claire Eugenia, who married the Archduke Albert of Austria, conditions improved. This young princess greatly encouraged the artistic revival which had made itself felt in Flemish art at the beginning of the 17th century.

It was at this juncture that Rubens appeared upon the artistic stage. He incorporated, so to speak, all the forces of Flemish art. By his naturalism and love of generous coloring, he is the direct descendant of the national Flemish School . During eight years in Italy , he devoted himself especially to the study of the Venetians, the masters of color. Thanks to the Italian Renaissance, he learnt what he could not find in Flanders : the art of composing large and dignified decorative paintings. Having returned to Antwerp , Rubens settled there definitely and was named painter to the Archdukes. From then onwards he was to know only honors. He painted more than 2,000 pictures, but often with the aid of collaborators, undertaking all styles with the same audacity and sureness of execution.