So I shall start by introducing myself to him for those of you who don't know me.
So my name is Buncombe and I am the curator of Northern European art at the Ashmolean Museum, which adjoins late September last year.
So still quite recent. And before that, I was the curator of Dutch and Flemish prints and drawings at the British Museum.
So now Northern European art also encompasses the paintings and also the German school.
So whenever I start new research projects or I go back to the old research projects for me,
I always start from the objects that I'm responsible for in the museum.
I will never sort of pick an idea out of the air and then try to find the objects for that.
No, for me, it's really about sort of museum collections and what how they speak to me, what they tell me.
And one of my favourite topics is has always been netherlands' artists abroad.
And as you can probably tell from my accent, I'm I'm I'm Belgian.
I'm a Flemish and I'm abroad. So for me, it's it's a topic that is quite close to my heart, obviously.
But I think it's also quite interesting when artists who don't stay in their home countries,
artists who will venture outside, they will take with them their own culture, their own style when they arrive.
And in other countries, they will they will either assimilate the other culture or they will integrate it into their own art.
And I think that makes that result that comes out of it is very interesting. So for me,
it's quite interesting to work on artists who have worked abroad and then to try to find the different influences and assimilations in their art.
In the light of this cause, antiquity after antiquity, of course,
I'm going to talk about Netherlanders artists travelling to Italy and I will
discuss one artist in particular as a showcase whose name is Dambrot Hall.
The Elder, which you can see here and I know in this country is sometimes pronounced Breugel.
But I will try not to get carried away with that and pronounce it how I'm used to pronouncing it as blowholes.
Apologies for my Dutch pronunciation in this before I will focus on the Ambrosial.
And I will also show you more works on paper because thus the works of art that are more familiar words as opposed to as paintings.
So I will discuss his drawings, also some related prints.
Before I do that, I will give you a very quick overview of other Netherlands' artists who went to Italy,
a brief history of how I came to be who the artists were.
I would travel abroad, what their reasons were, what they were going to do in this countries,
and what kinds of of of products or works of art they would produce in these countries or when later when they return home.
I will focus on the 16th century Umbro, who went to Italy in the 15 nineties.
So that's the period I'll be focussing on today.
And as I said there, and I'm the artist and I'm sure you will know what Netherlands' means, but I'll quickly reiterated.
So Netherlanders artists are artists from the low countries. So when we're talking about modern countries, we're talking about Belgium,
the Netherlands, but also the north of France, the western sides of off of Germany.
So that region. And just to make it easier to they will just call them Netherlanders,
whether they're from the southern Netherlands, from Flanders or from the northern Netherlands, from Holland.
When these artists arrived in Italy, they were called also fear Minga or flamenco or Balgo or Belka,
regardless of whether they were from the north or the south. In modern literature.
Strangely enough, they're not regarded that highly. So up until the early 20th century, even by really famous art historians like Max Rosas,
who published a catalogue recently of Rubins in the late 19th century, Max Freedlander,
I'm sure you know, they considered these artists travelling abroad as a sort of strange people,
arrogant for leaving their home countries betrayers of their own culture.
And I think that's quite unfair, because even though a lot of them did leave the Netherlands,
most of them would only go for a very short time and return back to their home countries.
And the few that have permanently settled in Italy, you can see that they really bring the NORDER installed in Nordgren culture into Italian art.
So I think that's a very unfair view. They call them the Roman ESTs, the Communists.
And for me, as I said before, they're really the most interesting artists to work on.
So when these artists are. Live, as you can imagine, is quite difficult to to produce lots of oil paintings,
so what they do to to jot down their impressions, they make quick sketches and for that, they carry around lots of sketchbooks.
And that's mainly what we have surviving today when you go to a museum collections around the world.
What we find is draw droids. And most of them are taken from these sketchbooks, which are not dismantled.
So it's very rare to find a complete sketchbook nowadays.
So most of the single sheets you will find in museum collections are taken from sketchbooks.
And so that's what we'll be looking at today. Sheets of these sketchbooks.
So first, I would give you a selection of the artists that went to Italy,
and then afterwards we'll go into more detail about the Umbro Hole, the elder in particular.
So, as I said, I'll focus on the 16th century. This doesn't mean that artists never travelled to Italy before that.
For example, we know that what you have on the Righton or here from the rather, he went to Italy, but it was a very different reason.
So he went in 14, 50, which was of course, one of the holy years.
In Rome, you know that every 25 years that the Catholic Church announces a holy year opens the church's up to pilgrims.
And that always brings together lots of artists gathering in this city.
So, Roger, of on the way the new 40 50 already travels to Italy.
Not really to learn from the culture, because when he comes back to Flanders afterwards, you can't really see an influence in his heart book.
Well, he just yeah, it's a visit. It's sort of touristic fits.
It's that he does. Other artists will, for example, younger artists, because we're not sure of the why that goes.
He's already an established artist.
Young artists who will go to Italy really to learn to soak up the Italian art, not just of of painters, of contemporary painters.
Also the old master painters, that would be of which paintings would be hanging in the palaces.
But also an especially, I think, in the 16th century is for the Roman antiquities.
This is the periods of all the excavations in Rome, and that really creates a bus in Europe.
So you have all these artists who want to go and study Roman antiquities and we'll see a lot of the sketches that we'll look at.
So they are of these Roman antiquities. Other artists go to Italy for religious reasons, for example, after the iconoclasm.
They want to go to a Catholic country, for example, and maybe hope to find work there.
Some of them enter Italian workshops, starts working for Italian colleagues.
Others set up their own workshop. Others may be printmaker will start working for print publishers in Rome.
So there's lots of different reasons, lots of different kinds of artists who will go to Italy and and spend their time differently in Italy.
So if we then start with the 16th century, so one of the first Netherlanders artists to go to Italy and again,
this is a bit like culture from the way then as a very short visit to see uncrossed arts.
And here you see a very beautiful study of the spine know.
And he goes to Italy in 50 No.8 as part of a diplomatic mission, which is again, one of the reasons why Netherlands' artists go to Italy.
So he accompanies his patron, Philip of Burgundy, who is a bastard son going for an audience with Pope Julius.
The second. A later fister to Italy.
And maybe I shouldn't call him Office three, because this artist, often squirrelled is Dutchman.
He stays a lot longer in Italy, so he leaves in fifteen, eighteen.
He goes to Venice, then travels to the Holy Land to visit Jerusalem.
Got views of Jerusalem by him. Then comes back to Rome when he comeback's comes back to Rome.
The Dutch pope ATRA in the 6th is in charge and he promptly offers him a job as curator of the Vatican,
which was quite extraordinary, if you think about it. So half a Dutch charters become a curator in the early 16th century.
And so here we see there's not many drawings that have survived by him where you can clearly see this is a sheet from a sketchbook.
There's even some maybe a bill or a calculation in the top right corner.
And then in the distance, we see the permit of assessors.
And then in the foreground, some very loose, sketchy sketches that you made of some sculpture.
Then if we think of 50, 70 and this was, quote, an important year for Netherlanders artists and particularly tapestry designers,
because that's the year when Raffaelle comes over to Brussels and to complete the cartoons that he was designing,
the acts of the Apostles cartoons to be hung in the Sistine Chapel in the Vatican.
And so that's a major year for a for a tapestry design and founders because he had to come to Brussels where the tapestries were being woven.
And after the tapestries were finished, the big cartoons that designs for discover the tapestries would remain with the weavers.
And so they were available for netherlands' artists, tapestry designers to see a study.
And that creates a sort of mass not, well, a big immigration of tapestry designers.
So far, not one.
Our life goes to Italy in the wake of seeing these cartoons and with him, his students, Peter Cook of nahles Peter that kept him there.
And you can see some fragments of cartoon by Peter Kempner, who is also known as Pedro Campagna here.
And actually, the Ashmolean has a very good collection of, as you can see, Cotard's fragments of these tapestry of.
So might be worth coming to see them in our study room. Also, Micheel Coxie goes to Italy.
So we can see that in the 50 twenties, it's mainly tapestry designers coming from Brussels to Italy to study tapestry design.
If we then move into the fifteen thirties, we see a very different story.
These are more artists. So as you know, Rafael dies in fifteen twenty.
So now we're going to see artists who get who are more drawn towards Michelangelo.
And one of the most famous artists of that decade going to Rome as Martin Van Hame skerrick.
And when he arrived there, he was already quite,
quite an established scientist and he was much admired by his Italian colleagues for his his landscape arts.
And as you can see, he makes these stunning studies off off of classical such sculpture.
But also what is quite interesting, most of the drawings we have are individual studies of a sculpture, Marten's, on him.
My home scared us. If he gives us views of the palaces, so we actually get a view of how.
And here we see the sculpture garden in the Vatican on the right of how it actually looks in the 50 30s.
So we see the two great statues of the river gods in the foreground and then in the background, in the knish, we see the Lao on surfing.
That's quite interesting to get a sort of armchair tourism like you.
You get to see what was on offer by just looking at these drawings in the 50 foot forties.
We see a different kind of artist going to Rome and we see a lot more prince makers, print publishers going to Italy.
And one of them was the very successful Hieronymus Kok, who was, after he was returned to Antwerp,
again, become one of the most prolific print publishers in Europe.
So he goes to Rome in the 50s and 40s, sketches a lot of ruins.
Then when it comes back in 50, 51, he publishes this a big series of these ruins and they become hugely popular.
They get republished over decades. Other people will copy them in smaller formats.
So there's clearly a hunger and appetite to see these Roman views in Europe.
Of course, one of the most famous people to visit Italy in the 15 50s is feature political.
The Elder, who is the father of our young Bruegel, the elder who we will discuss later.
And for Brueghel, it's it's different. And he doesn't necessarily go there to see the ruins.
What he's really impressed about is the landscape. So when he crosses the Alps, it completely turned his life around.
And they will appear in all of his later works.
And here you see a stunning shape in the in the museum de Luca of these Alps, that overwhelming nature that has clearly influenced Pieter Bruegel.
And then when he goes back to Antwerp, then we see that he collaborates with his friends, Hieronymus Kok, to publish another.
So first Coke publishes the ruins and Brokaw comes back.
He publishes a set of large landscapes based on Brokaw's impressions of Italy.
And they were very popular as well. And we issued them copy. It's imitated.
So another printmaker who would go to Rome and this is one of my favourite printmaker says Cornell Court,
and he's not just a visitor when he goes to Italy. He really goes starts to stay.
He wants to work in Italy. He wants to settle down.
You have to remember where it's around 50, 66, six of the iconoclasm has happened.
So lots of artists are moving south from the north.
And so Cornelis Courtice, one of them, and he is the most talented engraver of his time.
And so he immediately finds works and publishes Worksop or Salamanca left for free.
And while he and he works closely together with Titian. And here we see a stunning copy after one of Titian's paintings of Saint Jerome.
The fact that he was admired is also you can see it's been hand coloured.
The prince afterwards, which was done sort of 10 years after the prince was actually made.
So in the 50s, 70s. But the fact that someone invests so much money in the hands colouring and it's
heightened with gold really means that this prince was highly appreciated,
that it was regarded as a top end luxury product that deserved to be embellished like this.
Then in the 50s, 70s, more and more Netherlanders artists really go to Italy to stay.
And they really tried to try to find work there. And what will happen is that it's the 50s, 60s and 70s and 80s.
So there's a lot of decoration projects going on in the Vatican palaces.
And a lot of these artists eventually will find work making fresco and making frescoes in some of the palaces.
The northern artists are very renowned for their landscape skills.
So what happens is they usually enter into a collaboration with their Italian counterparts, whereby the northern artists will draw all the landscapes.
And we're talking about people like Bartolomé Springer or Yance Picards, as you can see here,
while Italian artists like Antonio Tempesta will then provide the figures for these frescoes.
And so, for example, they work for Pope Pius the 5th, but also for cardinals like Alexander, for NASA in his field for NASA and kept her role.
As you can see here, these artists really assimilate the Italian culture like this is.
If I would see this drawing in a collection, I would not necessarily think this was done by a netherlands' artist.
This is really someone assimilating Italian culture in order to then get commissions and work for the popes in Rome.
Two other artists who who go over around the same time and follow the same path,
romance also working and the people policies are the two brothers, smartarse Brill and Paul Burrell.
And they were hugely talented. It's a fabulous landscape. Artists, as you can see here, this tree is just magnificent.
It's very it's quite an inferential tree has been copied by many Italian artists.
Afterwards, when you go to Rome and go through the Vatican policies, you can actually find this tree in many of the frescoes.
So it's sort of a spot on and find a tree when when you admire these frescoes, someone tells Bril, born in fifty 50/50, Leaf's to Roman is 25.
So he arrives there in fifteen seventy five an instant.
An instant success gets commissioned to, for example, do the decorations of the Gregorian tower or the sort of the fancy and the Vatican.
But then suddenly in fifteen eighty three he dies unexpectedly, which is a great loss even for Italian art.
I would say luckily the year before, in fifteen eighty two, he was joined by his younger brother,
Paul Bril, in Rome, and he then takes over the workshop and the commissions.
And luckily, as you will see later on, he also keeps all the sketches, all the sketchbooks by his brother,
which he then generously allows other Netzer and the Netherlands artists to come and study in their house and copy.
So here we see some drawings by Paul Bril again.
Paul Burrell, in the wake of his brother, my task was very popular, highly collected.
Masses of drawings are still preserved today and in the Louvre, for instance.
And you can see why they were very, very popular. These are very attractive views.
I think the lower left study, which is more in black chalk, is a study for the for the one in the top right, which has finished in ink.
And you can really sees this as a very atmospheric sheath as it's got that dark foreground and then the dramatic landscape following after afterwards.
So I can you can see why why he was very popular and collected.
So I said lots of artists were then welcomed by Paul Bril in his house.
One of these artists is the very famous Hendrik Holtz's who who went to Rome in the 15th in 59 to 50, 91.
Of course, Mangels, whose goes to Rome. He's not a young beginning artist anymore.
He's already established Hendrik Goldsmith. He is the best engraver of his time.
And you can see on these sheets that they're so accomplished that they're really capturing the statues.
And all these sheets are taken from from sketchbooks that Gulches took to Rome with him.
This trip really changes his life, although he only stays for a short time when he comes back home to to Harlem, to the Netherlands.
You can see that he incorporates all this Michelangelo, bloody same to his friends.
And I think your face has shown you some of his prints and some previous classes, but also in portraiture,
like he gets really inspired by, for example, black and red chalk portraits shows, which are portraits which were done in Italy.
And you can then see that the see that he takes that back to Holland.
I don't want to talk too much about 17th century, so I forgot to say so at the same time.
And who says there you have to remember that young Procol is in Italy as well, but we'll see more of his drawings later on.
So just to quickly venture into the 17th century to sort of finish the story of netherlands' artist in Italy,
of course, the first artist, then he goes there in sixteen hundreds. Is is the great Peter Paul Reubens from Antwerp.
So he goes there when he's 23c are still quite young.
But the moment he arrives, he gets he gets patron patronage from the Dukes of of Mantua.
His talent is instantly recognised. He's highly demanded as a portraitist.
Then when he moved to Rome, he gets one of the most important commissions of of the first decades of the 17th century,
which is three paintings for the Santa Maria in Valley Chelsea Church in Rome, which were done on Slate.
And here on the left, you see a proprietary drawing for it.
And then the final product in situ on the right.
So this was a great success.
And Rubin stayed for nine years in Italy, but then he has to go back to its founders and then we all know the story when he goes back.
His massive success continues there.
And we know looking at the figures in these paintings, that Rubens was clearly inspired by Italian art, but still remains this.
His Flemish roots, one of his best beautiful funds fundido also went to Italy, probably encouraged by Rubens.
He went for seven years between sixteen, twenty and sixteen, twenty seven.
And surprisingly, he doesn't stay.
He goes straight to Sicily to talk to the sides, where there was also a big contingent of Flemish artists already working there.
So spend some time there. Damn truffles up north and gets really inspired.
Not so much by a Roman antiquities were more by the Titian paintings, by the Rafeal paintings.
And there's a fabulous sketchbook at the British Museum in which he copies all the paintings and he makes a notation saying,
I've seen this painting in the palace of blah, blah, blah. And so you can really follow his trip to Italy.
And then if we jump to the sixteen, thirty, sixteen forties, we see a very different kind of artist going to Italy.
So these are the previous artists we've seen are mostly Flemish.
What we what we're now seeing in the sixteen, thirties and forties are a lot of Dutch of northern Netherlands artists.
And as you can see, they're not necessarily that interested in Roman antiquities or in the old Italian masters.
What they're really there for is for the light, for the Italian light like that,
cauldron lights and all their paintings, even when they return back to hold onto, you'll always see in Dutch.
Things from the sixth and 36, the fourth is that cold and light.
Even if you have found a flat meadow with some cows in it, in the background, you'd get that golden Italian life.
And so they're called the Italian ests. So this is a very sort of special group of artists that will go there.
They're also a separate group of artists, get very inspired by Caravaggio,
and they're called the carrot, the carrot compromise and the carrot, which is the.
And so you see a lot of Clare up secure in their paintings.
So that's a very different strands of of Netherlanders artists.
So once these artists get there, how did they find each other?
How did they organise themselves?
And if we look at the early 16th century, we see that the institutions that they were based in are mainly linked to religious,
probably as charity societies linked to churches and the Priem.
The prime reason for this institutions was, for example, to welcome pilgrims during the whole year,
but also to arrange burials for Netherlands' people who would suddenly die in Italy
as fossils off repatriation or organising of the burial in a foreign country.
And then later on, when there's more and more artists and artisans, clerics from moving into Rome.
This function widens and they become a sort of social network.
When the group of artists I just told you about, the Italians, the ones that come for the golden light in Italy.
When they arrived in in Rome, things changed because in 15, 77, the Accademia design Luca has been founded.
And so there's a lot of rules, a lot of guidelines who need to pay a subscription.
And some artists actually participate in the academia. For example, Paul Bril have held many functions in academia.
This group of Dutch artists that arrived in the 16th, 36 and forties, they're having none of that.
And what they really want from you see a really fun scene here in this drawing.
And they just want want to be be free. And they call themselves the band Fogel's, which roughly translates as a flock of birds.
So indicating they're free from the academy. They all want to adhere to the rules.
They don't want to pay subscription. And what they really do is just visit Tapley's and get drunk and then cause a lot of trouble.
And in Rome and in the city centre. So you can imagine there were not much liked, but they were very proud of their activities.
You can see them golden drawings on the wall. There's graffiti scratched them and some walls in the ruins in Rome where you can trace their presence.
So, yeah, they were just really there to have fun. They also get nicknames.
And so, for example, the artist who made this drawing, Peter, from LA, he was called the Bomb Bachu and Bottcher story,
which means ugly puppets, and apparently because his body proportions were a bit awkward.
He had a short neck, a long upper body. And so they gave him the nickname Ugly Puppets.
So it's that kind of society with very wild in the sea initiation rites.
So this was was the the overfield before and moving on to Ambrosial.
And here we have our man in a beautiful Etchingham by Anthony Van [INAUDIBLE].
So I will first briefly say something about his life and then move on to the drawings,
so young Brogo born in 50 60 AIDS, which is sadly a year before Peter Berkel, his father dies.
So we never really got to know his famous father when his mother then later dies 10 years later.
He has to move in with his grandparents. So he has to move from Brussels to Antwerp.
His grandparents or his grandmother or others called Mike Fir Hills.
And she's actually quite a famous painter in her life. Like we don't know if any of her artworks.
Nothing has survived in museums or at least nothing that we recognise as being by her hands.
But she was the widow of Peter Cook of Announced, who we already mentioned.
That's a great tapestry designer and then in the early 16th century.
And so it must have been quite an exciting family to enter. And so when the young young Brueghel moves in with his grandmother in Antwerp,
she teaches them how to paint and with a focus on miniature painting and watercolour.
And that's something that we will find in his later works. So then as a young artist, he's 20 years old, he's an orphan.
He's got a lot of money because his father, Peter Brokaw, was so successful.
So the logical thing for him to do in the wake in the footsteps of all these artists we've discussed earlier is to go to Italy.
So we know that he travelled to Italy over Cologne around 15, 88.
And then he arrives in in Naples in 15, 89.
So it's interesting, they're not all artists directly go to Rome, but that they go to different places as well.
So here we have two views which were previously attributed to you haven't broken the elder of Naples.
I'm not sure. I don't think they're very strong drawings.
And in fact, if you look on the first row of them, they hold inscriptions saying, for instance, Rome, fifteen ninety five,
which would be really odd to have an inscription stating Rome 50 95 when it's a few of Naples where young Brokaw was 115 89.
So I think these are probably not by Umbro Hall himself, but rather copies made afterwards by someone else.
So by 50, 92 and Procol does arrive in Rome.
And here we got a very nice view of the reply.
And you see already some of the elements they Umbro, who would become very famous for the exact topography,
but also creating death by placing all this tiny, miniscule figures in the foreground.
We know that when the, um, broke all arrived in Rome,
that he would stay with Paul Pillar because by that time of first rule, of course, has already died in fifteen eighty three.
So because he's a young artist, so he wants to have the support of of some fellow countrymen and he finds a very welcome open house with Paul Burrell.
When he is in Rome, he gets to know one of the Milanese cardinals, Frederico Borromeo,
and travels up to him to Milan in in 50 Ninety-four stays a fifth until fifteen ninety five and then travels back to answer.
So when he comes back to answer, he really needs to live up to his reputation because he is the son of Peter Berkel.
So he starts a workshop and he clearly inherited his father's talents and becomes very successful.
We know him as the flower Brueghel. We'd know him.
That's the velvet protocol, because he's extremely good in rendering textures and in different realistic appearances.
So when I think of young Procol, I don't think of of the Italian food drawings that I'm going to show you today.
I think of these big still lives, the flower pieces, or even more so that white landscapes,
the panoramic landscapes that just take you in with the hundreds of little figures in the foreground.
So that's what he becomes really famous for. Very prolific.
And you can see why have these kinds of works which would appeal to a wider
audience if if you want to commissioner paintings to hang in your living room,
you can see how this would be very attractive to have paintings like that,
because he was so talented in and representing these these realistic textures, he's often asked as a collaborator.
So when he's back in Antwerp, he collaborates a lot with roupas, for instance,
whereby rouble's would provide the big figures in a painting and then the Umbra who
would do the background landscape or the flowers which are scattered in the foreground.
And that's typical. And to our practise, where they're not comp competitors, they're not working against each other.
They're all working together and sort of making the best products they can make in their city by combining forces.
So then he dies quite young, 16, 25, he dies in Antwerp and ironically, he dies when his son,
who was also called Tambra, also younger, healthier, younger than when he was doing his trip in Italy.
So this poor young artist has to rush back to Antwerp to then take over this hugely successful workshop of his father, Young Brokaw.
But that's another story. So we know that by Umbro Hall, we have roughly 200 drawings that have survived.
And most of these come from his Italian trip between fifteen eighty nine and fifteen ninety six.
So I've already mentioned that he's sort of a company of of Paul Bril who held the drawings by Martha Espero.
Also my mother Hasbro dies and fifteen to three.
All these sketchbooks are lying around in the house smartarse grill, as I said before, work in the in the Vatican palaces on on landscapes.
And what is really good art, as you can see here, is accurate, architectural or slinky.
He applies this sort of art were very rare by you.
Look at the buildings from a lower viewpoint and they create this fantastic perspective.
And so there's lots of these architectural studies, almost mathematical studies, I would say,
and these motifs, you or them, finds replicated in the frescoes in the Vatican.
He also does another sort of throwing sort of like this.
The forum Ramanan, which you'll find the bit a lot more attractive, I say, than this.
This is quite dry. It's quite measures.
Well, this is a lot more lively and really gives you an impression of of how Rome looked like him in the 50s, 70s and and the 50s, 80s.
Lots of other artists stayed with us with Paul Burrell. And so we see that a lot of these drawings are eventually being copied and reused.
And if you look at the the foreground is quite empty. And I don't know how the forum Ramanan looked like in the 50s, 60s and 70s.
But the question is, was there was there just a field or did says Brill, then maybe leave a blank.
So Prince makers could then at foreground figures, sort of fruit compare.
So this is the drawing by Martell's Brill,
one of the artists who stay with Paul Brill along from Newill and the younger he when he came back home to Holland.
He would then turn this fuse into topographical prints, which is bizarre because it does it in the reverse of an you make a print.
They've always been with us to the drawing. It's a bit bizarre to do it for a topographical few because now everything is the other way round.
These principles, as I've already mentioned before, for example, that here most here on this cock and series of the Roman ruins,
but also the pope, Procol Peter Brogo landscapes, which here in this cock published were extremely popular.
And as I said before that keeping republished and here we have a few of the forum of NERVA.
And then when we look at the drawing by Hasbro, which is kept in the messier, the Louvre, we see it's very similar.
So all these stunning drawings, for example, like these by my first bill,
which we think that's original works of art, in fact, then go back to early or mid 16th century prints.
And then there's, of course, the question like how many few points can you get when you go to Rome?
Like, what one's the best viewpoints of a certain set of ruins has been established.
It might be logical that all artists sort of go and stand on that position to make their drawing.
But it's nevertheless very interesting. And I think it shows that Netherlanders artists sort of hark back to the past.
Keep repeating very popular motives and then reusing them in a creative way.
So a lot of these drawings by First Bril have survived.
As I said, partly because for Bril, Capital was clearly very proud of his brother's work and his older brothers.
He really looked up to him. And so we have 15 to 20 sheets by my test bril, which are nowadays kept in the Louvre and in the Albertina.
Here we have a few of the forum born with a A code half, which is ironic for the forum.
And then here we have a very nice, I think a signature by Martez Braille's,
who you've got a letter M in the lower left corner and then a pair of glasses because Bril and Dutch is glasses or spectacles.
So I think that's quite nice. And this also proves that this is an autographed sheet by my test bril,
because if we look a bit further, we'll find two more versions of exactly the same drawing.
So this is my first Braille sheet. And then there's two more drawings and it's very difficult to find any differences to
really ascribe a specific hand so that we really have to sort of start looking at detail.
So luckily, here we have the signature so we can attribute to my transferral.
Here we have this inscription here which says October fifty ninety four in Rome.
And we know that that ACMD beautiful signature from letters that have survived.
So luckily we can attribute this. There's a third version in Chatsworth in the definition collection, which also has an inscription,
fifteen ninety nine when we know Ambrosial is not in in Rome anymore.
But we have no idea who we need to attribute this destroying to because the hands, the individual characteristics of the artist have disappeared.
So it's very difficult and a lot of research still needs to be done.
If we compare the first Bril and the unbroken drawing, I can hardly see any differences.
Even the hatchway, the peignoir is very similar. Sometimes you can find small differences here.
The difference here. So but this is clearly an exact copy. This is clearly meant by unburnable to copy my test.
Brill's drawing a similar example here to a few of the SEPTA's or Neum.
This is drawing but Imperiale in the law firm.
So then here again, we have the original by Unbroken in the British Museum with a very similar inscription as well.
They say 50, 94, and then here an anonymous version in Chatsworth, they put 50 99.
However, when we now compare the Bril and the vertical sheets,
we can actually find a few differences, especially in the lower right corner and Abril drawing.
There is a draughtsmen making a sketch on set designer while in the broken drawer, you see a group of shepherds resting against the wall.
Also, when you look at the trees and in the right background, you can see there are clear differences.
And interestingly, if we go back to the charts we're drawing, we see the Chatsworth drawing.
Actually copying the details that have been changed by Bramhall and not by Bril.
So I think we now have to accept that the anonymous group of Chatsworth drawings are not directly copied from the Lighthouse Bril drawings in Rome,
as has been previously suggested, but rather after Umbro Common back to Antwerp 50 99,
a young artist entered this workshop and decided to practise his hands by copying his masters or profiles drawings.
But this one, this is a view of the arch of Septimius Seafarer's. And in fact, we have seven versions of this drawing.
So it's not just a one off. It's not just the Umbro calls thing and pulp mills house and copying joins.
It's a whole other so wider group of artists were, too.
It's a common practise. When you go to Rome, you stay in Paul Brill's house and you copy my brittle strawn's.
And if you look carefully at the top, right, you can see an inscription on the first row.
And this is Paul Brill making an annotation on the back, saying this is the best drawing a half by my brother.
Matarasso is clearly very proud of Detroit's wants to share them.
So here is then the drawing we think can be attributed to young bramhall in the Metropolitan Museum.
There's a third one which has in the literature been attributed to a young girl who was born in Chatsworth.
But I think we need to place that up with that anonymous group. It's a fourth version in the core titled Institute and a fifth version in the ranks.
Friends Covenant's in Amsterdam and there's another one in Berlin, another one in a private collection.
And so there still a lot of research to be done. Who are these artists?
Also, we know Matt says Bril wasn't hired by his Italian colleagues.
So some of these drawings have been attributed to Kantako Lina. So Montesano also to the will of our new land, who made the prints after the drawings.
So there's still a lot of research. So the question I think is why?
Why are there so many? Joynes why as a young artist, when when you're in Italy, when you're in Rome,
why don't you just go outside and enjoy the sunshine and make your own sketches?
Why do you stay so inside someone's house and make meticulous copies?
I think there's different reasons. They are young artists, so they still need to build up their confidence.
They still need to practise. Another reason why, for example, the set design has been destroyed by the time the number and call arrives and in Rome.
So maybe he wants to have an image, a motive for a future work of a building that doesn't exist anymore.
Maybe Paul Bril employed them to really start working in the style of his brother
and then create works of art in the Sullivan brothers so he can continue.
He can complete the many commissions he has. So there are many, many, many reasons.
So here's another sheet. This is the two rows of Skippy.
Oh, where we have to draw him by my first grille and the Brueghel drive both from the Louvre so we can compare them very well.
And you see these clearly come from sketchbooks. They're very dirty sheets.
They contain stains, all the things they've been handled along the arches.
What's happened here and this could be one of the reasons why Procol make so many drawings is that he then later re uses it in his paintings.
So this is the Munich painting I've shown you earlier. And then in the left background, we see the tomb of Skipp here, which has been reused.
And there's many more paintings of protocol in which this building then appears.
And that's fun. When you're researching Procol, you can sort of it's like a jigsaw puzzle.
It takes different elements and then brings them all together in one painting.
And that is one of the reasons why he might so meticulously copied this Matisse Brill Droits.
This is another drawing attributed to young brokerage within the famous Hill Custodio in Paris.
And when I look at there, I see another one of these smartarse Brill drawings.
But we have the inscription by Ambrosial.
We don't have any version by Martell's Brill, but I think there must have been one originally which Procol copied, but which hasn't survived.
But Procol damned us. And now we're sort of in the 15th. Nineteen three, fifteen ninety four.
He becomes more confident and this is another version of the Temple of the.
Well, actively and here you can really see Ambrosial developing.
So I told you that he's been trained in watercolour basements on your grandmother.
And this is very typical of an unbroken to work with Brown Marsh by specially with the blue wash,
which then creates all these different layers of depths. So I think here we see a more confident artist developing,
because if we then compare it with the Paul Bril drawings of the same subject to the temple of several at sinfully, they're very different.
And it's like here we see the very typical portrayals or angry discussed before.
And this is very different from the much. The lights are much more delicate drawing that Ambrosial is so famous for the same with there.
So here we have the casts or Sant'Angelo. This is then the version that young Procol makes.
And it's almost like a breath of fresh air. I think when you're looking at this, like this could still be very calculated as well.
This is a lot more spontaneous. You have to blue wash to see if the figures in the foreground.
It's a real scene. And this is really appropriate next.
And then so here in the 19 threes fifty 90 fourth, this is a second group of drawings.
Briefly, I want to show you, these are all views of the Colosseum.
And you see they're completely different from the copies he made after much as Bril.
So we've got a really beautiful shoots at the Ashmolean. There's a similar one at the British Museum.
And then this one in Berlin. So you see they're very spontaneous. He uses lots of watch.
They're very, very pretty drawings. I think. No last group of drawings by Owen Protocol I wanted to talk to you about.
Again, there's one sheet at the Ashmolean, which you should all, of course, come and see in the French room.
And so if you look at this, there's sort of a combination of the of the drawings I've shown you earlier.
So they're not the flamboyant, spontaneous Colosseum sketches like these.
They're not the stiff controlled drawings.
After my first Grilk with this sort of something in between. We have the blue washer's.
We have the white panoramic landscapes going in with this since we have the group of foreground figures which are so typical of Bril.
But I don't know. I feel like I'm missing something.
Something of that spontaneity that we find in his in his original drawings is lacking here.
In fact, this is part of a group of four drawings. So we've got one in Oxford then.
And so the Oxford boy, I should say, is they're all of use of the West from both Naples.
So they're mostly fuse of pots of Orli and buy. So here we have the so-called two of repeater.
Here we have the Temple of Venus or Diana at Bayah at the British Museum.
Another sheet for the British Museum, Temple of Mercury or Echo.
And then very recently in 2005. This drawing was sold at Christie's and it inserts an atmosphere of private collection.
So these are unidentified wounds are possible. So these are all clearly from the same group.
They'll show they're done on the same kind of paper then in the same technique.
They represent buildings from the same region. So it's clearly a group.
They also share a lot of the same provenance.
So, for example, the numbers you see in the lower right corner can be identified as belonging to pure closer.
Then another stamp attribute to long behalf. So these drawings as group of terms for some reasons, and through them,
France in the 18th century and then the drawing that has most recently surfaced
on the market was then previously sold in nineteen seventy five in Amsterdam.
So they've again like the Matisse Brill drawings. We saw the unbreakable drawings before.
These drawings were probably kept in sketchbook kept together, and then they enter collections at some point during their collection history.
So here are the four drawings together.
And another point that they all share, which you can see from the Dutch deleverages, is that they're all indented.
So it means that the artist has used a stylus or stylus or a sharp knife to trace along the contours of all the buildings that the rock formations,
the figures in order to transfer the composition onto another sheet.
And the only reason why artists would have done that is if they needed to use this drawing in order to make another work afterward.
Another work of art. And in fact, all these prints have been turned into prints.
So these are the drawings. These are the prints. As you know, normally prints are in reverse.
These drawings are all in the same direction,
which is an important aspect of topographical fused because you want to have them on the prints as they appear in real life.
So there must have been an intermediary drawing made by the printmaker in reverse, which is why are original drawings are invented.
So these four prints all come from a series engraved by a heathy Assad.
And you see this man at the bottom and the caption. And they were published in a series called Of the Statue.
Fell on tickets out of your mind to fully put swivel on ultra walking.
So it's it's a set of of of ruins of antique ruins showing Rome, Tivoli plots of all the other places.
As I said, done by Sidler. And then the first stone published in 16 and six, as you can read the dates below in Prague.
So I said some parts in Praga. It's been published in Italy, this series.
And you can also see a second name of Michael's art here, which was a later publisher.
So they would just add his name onto the copper plate.
So this series house, you can already tell from the title page would really appeal to humanness to amount.
It's an allegorical title page with personal connexions at the same time on
either side of the Tiflis written on a wolf scan referring to Rome's history.
And of course, we'll blow in Prague and six in 06 where we're dealing with the courts.
Or first off, the second, who would surround himself with scholars and scientists and philosophers.
So it's clearly meant for that audience. This is the Frontispiece and this indeed then refers it's a dedication to feel like an.
What confounds who's who is a Czech scholar at the court of Rudolf?
Is very interesting in science. He's in correspondence, for example, Galileo, Galileo and Kepler.
And so from that inscription is cleared,
he must have commission sidler when he was in Prague at the Rudolf Court to make this series of antique ruins.
And so we know that Ambrosial also went to Prague in 16 or four, which is two years before this print service was published.
So we can reconstruct the commissioning of this play.
Surprisingly, Sidler then not really comes up with original views, but faces a lot of his views on an older publication from 50 75.
As you can see, the title page of Here by Dipak, which only showed views of Rome.
As you can see from the title and you see it's a lot more old fashioned than the flamboyant title page.
The Sidler creates. And so 38 of the 49 views are taken from the older 50 75.
Sarah, so here we see the Castle Sant'Angelo that the Prohack version and Tzavela version,
which is almost identical apart from the addition of off the sky in the background, which makes them more lively, a few.
So 38 plates from the two Perhacs series and then the additional twelve plates have to come up with new compositions.
So for example, one is cockpit's. This is a few of Tivoli.
What is copied after the famous Peter Burkel Prince, which was published by her rules clock as discussed before.
And then the other plates representing Naples are the plates.
So we have discussed before the plates that were done after an unbroken Straughan, surprisingly unbroken is all acknowledged from any of these plates.
But it's not very uncommon because with topographical views,
it's mainly about the view and not about the artist who drew it because it was considered a few as a few and not really an artistic expression.
So then if we look at these drawings, so they're very different from the ones we've discussed before.
They're not the spontaneous sketches they'll throw homemade.
When this sketch, the coliseums are not the meticulous ones that he made after Matt, says Bril.
But these are intermediary. And I think what happened, this one young Umbro was improper in six, two or four.
And there a drawing at the British Museum, which is science, young Burkel, improper.
So we know exactly who was there. But let's say you're a slacker from wacking.
Feld's must have commissioned Sidler to make a series of Roman ruins.
Sadler must've asked young Brueghel, Oh, you've been in Rome.
You've made many of these sketches. Could you maybe provide me with models?
So that's with the Umbro or make new drawings based on this IRDA or more spontaneous sketches to fit the Ingrey from Saul?
And I think that's worth seeing here.
So I think in this talk, I've tried to show you lots of different things, but mainly how these artists in Italy, it works their difference working.
That's. Yeah. So I hope I've shown you sort of glimpse into how different drawings are made for different purposes by different kinds of artists.
Thank you.