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https://www.coleccionbbva.com/es/autor/wildens-jan/
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Jan Wildens
(Antwerp, 1585/86 – 1653)
Author's artworks
17
th
Century Flemish
Painter of mythological works, religious subjects, hunting scenes, portraits, animated landscapes, landscapes and townscapes.
The father of Jeremias Wildens and pupil of Pieter Verhulst, in 1604 he entered the Guild of Saint Luke of Antwerp as a master.
His trip to Italy in 1614 and his knowledge of the work of Paul Brill led to a profound transformation of his archaic mannerist landscapes, now permeated by
Classicism
A movement in art, literature and music which advocated a return to the harmony, simplicity and balance that defined Classical Antiquity. In the arts, it emerged with the Renaissance, when it became the new aesthetic canon in the quest for perfection, and was the prevailing movement in the eighteenth and nineteenth centuries. With the appearance of
Romanticism
A cultural movement born in Germany and the United Kingdom in the late-eighteenth century, as a reaction against the Enlightenment. It extolled the expression of feelings and the search for personal freedom. It spread throughout Europe, with different manifestations depending on the country. In painting, Romanticism reached its peak in France between 1820 and 1850, replacing Neoclassicism. It main purpose was to oppose the strictures of academic painting, departing from the Classicist tradition grounded in a set of strict rules. Instead it advocated a more subjective and original style of painting. Its main formal features are the use of marked contrasts of light, the preponderance of colour over drawing and the use of impetuous and spontaneous brushwork to increase the dramatic effect. Its greatest exponents were: Caspar David Friedrich (1774-1840) in Germany; John Constable (1776-1837) and J. M. W. Turner (1775-1851) in the UK; and Théodore Géricault (1791-1824) and Eugène Delacroix (1798-1863) in France.
, it entered into decline until it gradually lost all traction with the advent of the early avant-gardes in the twentieth century.
and featuring a more serene, ornamental and elegant landscape.
Back in Antwerp (1616), he started to collaborate with Rubens in landscapes and in the backgrounds of the master’s history paintings. The relationship grew into friendship, and although he would never adopt the vehemence of Rubens’ compositions, the influence of the master may be perceived in his technique and subject matters. He also made background landscapes for other painters, including Jacob Jordaens, David Teniers and Frans Snyders, a specialisation that encouraged him to create his own individual compositions.
His landscapes were made into prints by Hendrik Hondius, Jacob Matham and Andries Stock.