1 00:00:00,690 --> 00:00:06,010 So I shall start by introducing myself to him for those of you who don't know me. 2 00:00:06,010 --> 00:00:17,470 So my name is Buncombe and I am the curator of Northern European art at the Ashmolean Museum, which adjoins late September last year. 3 00:00:17,470 --> 00:00:24,190 So still quite recent. And before that, I was the curator of Dutch and Flemish prints and drawings at the British Museum. 4 00:00:24,190 --> 00:00:30,600 So now Northern European art also encompasses the paintings and also the German school. 5 00:00:30,600 --> 00:00:36,450 So whenever I start new research projects or I go back to the old research projects for me, 6 00:00:36,450 --> 00:00:40,710 I always start from the objects that I'm responsible for in the museum. 7 00:00:40,710 --> 00:00:46,530 I will never sort of pick an idea out of the air and then try to find the objects for that. 8 00:00:46,530 --> 00:00:52,890 No, for me, it's really about sort of museum collections and what how they speak to me, what they tell me. 9 00:00:52,890 --> 00:00:59,310 And one of my favourite topics is has always been netherlands' artists abroad. 10 00:00:59,310 --> 00:01:03,060 And as you can probably tell from my accent, I'm I'm I'm Belgian. 11 00:01:03,060 --> 00:01:09,270 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. 12 00:01:09,270 --> 00:01:14,490 But I think it's also quite interesting when artists who don't stay in their home countries, 13 00:01:14,490 --> 00:01:21,270 artists who will venture outside, they will take with them their own culture, their own style when they arrive. 14 00:01:21,270 --> 00:01:30,420 And in other countries, they will they will either assimilate the other culture or they will integrate it into their own art. 15 00:01:30,420 --> 00:01:34,320 And I think that makes that result that comes out of it is very interesting. So for me, 16 00:01:34,320 --> 00:01:43,500 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. 17 00:01:43,500 --> 00:01:46,830 In the light of this cause, antiquity after antiquity, of course, 18 00:01:46,830 --> 00:01:51,600 I'm going to talk about Netherlanders artists travelling to Italy and I will 19 00:01:51,600 --> 00:01:56,970 discuss one artist in particular as a showcase whose name is Dambrot Hall. 20 00:01:56,970 --> 00:02:02,580 The Elder, which you can see here and I know in this country is sometimes pronounced Breugel. 21 00:02:02,580 --> 00:02:09,810 But I will try not to get carried away with that and pronounce it how I'm used to pronouncing it as blowholes. 22 00:02:09,810 --> 00:02:17,700 Apologies for my Dutch pronunciation in this before I will focus on the Ambrosial. 23 00:02:17,700 --> 00:02:26,870 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. 24 00:02:26,870 --> 00:02:31,980 So I will discuss his drawings, also some related prints. 25 00:02:31,980 --> 00:02:39,450 Before I do that, I will give you a very quick overview of other Netherlands' artists who went to Italy, 26 00:02:39,450 --> 00:02:43,600 a brief history of how I came to be who the artists were. 27 00:02:43,600 --> 00:02:48,960 I would travel abroad, what their reasons were, what they were going to do in this countries, 28 00:02:48,960 --> 00:02:58,470 and what kinds of of of products or works of art they would produce in these countries or when later when they return home. 29 00:02:58,470 --> 00:03:04,890 I will focus on the 16th century Umbro, who went to Italy in the 15 nineties. 30 00:03:04,890 --> 00:03:07,140 So that's the period I'll be focussing on today. 31 00:03:07,140 --> 00:03:14,440 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. 32 00:03:14,440 --> 00:03:21,660 So Netherlanders artists are artists from the low countries. So when we're talking about modern countries, we're talking about Belgium, 33 00:03:21,660 --> 00:03:27,540 the Netherlands, but also the north of France, the western sides of off of Germany. 34 00:03:27,540 --> 00:03:32,730 So that region. And just to make it easier to they will just call them Netherlanders, 35 00:03:32,730 --> 00:03:39,960 whether they're from the southern Netherlands, from Flanders or from the northern Netherlands, from Holland. 36 00:03:39,960 --> 00:03:48,810 When these artists arrived in Italy, they were called also fear Minga or flamenco or Balgo or Belka, 37 00:03:48,810 --> 00:03:55,320 regardless of whether they were from the north or the south. In modern literature. 38 00:03:55,320 --> 00:04:05,700 Strangely enough, they're not regarded that highly. So up until the early 20th century, even by really famous art historians like Max Rosas, 39 00:04:05,700 --> 00:04:11,010 who published a catalogue recently of Rubins in the late 19th century, Max Freedlander, 40 00:04:11,010 --> 00:04:18,230 I'm sure you know, they considered these artists travelling abroad as a sort of strange people, 41 00:04:18,230 --> 00:04:23,760 arrogant for leaving their home countries betrayers of their own culture. 42 00:04:23,760 --> 00:04:29,580 And I think that's quite unfair, because even though a lot of them did leave the Netherlands, 43 00:04:29,580 --> 00:04:34,680 most of them would only go for a very short time and return back to their home countries. 44 00:04:34,680 --> 00:04:43,740 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. 45 00:04:43,740 --> 00:04:49,800 So I think that's a very unfair view. They call them the Roman ESTs, the Communists. 46 00:04:49,800 --> 00:04:57,750 And for me, as I said before, they're really the most interesting artists to work on. 47 00:04:57,750 --> 00:05:05,740 So when these artists are. Live, as you can imagine, is quite difficult to to produce lots of oil paintings, 48 00:05:05,740 --> 00:05:12,790 so what they do to to jot down their impressions, they make quick sketches and for that, they carry around lots of sketchbooks. 49 00:05:12,790 --> 00:05:18,580 And that's mainly what we have surviving today when you go to a museum collections around the world. 50 00:05:18,580 --> 00:05:24,940 What we find is draw droids. And most of them are taken from these sketchbooks, which are not dismantled. 51 00:05:24,940 --> 00:05:28,560 So it's very rare to find a complete sketchbook nowadays. 52 00:05:28,560 --> 00:05:34,180 So most of the single sheets you will find in museum collections are taken from sketchbooks. 53 00:05:34,180 --> 00:05:39,580 And so that's what we'll be looking at today. Sheets of these sketchbooks. 54 00:05:39,580 --> 00:05:44,410 So first, I would give you a selection of the artists that went to Italy, 55 00:05:44,410 --> 00:05:51,030 and then afterwards we'll go into more detail about the Umbro Hole, the elder in particular. 56 00:05:51,030 --> 00:05:58,110 So, as I said, I'll focus on the 16th century. This doesn't mean that artists never travelled to Italy before that. 57 00:05:58,110 --> 00:06:06,290 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. 58 00:06:06,290 --> 00:06:11,440 So he went in 14, 50, which was of course, one of the holy years. 59 00:06:11,440 --> 00:06:18,610 In Rome, you know that every 25 years that the Catholic Church announces a holy year opens the church's up to pilgrims. 60 00:06:18,610 --> 00:06:24,430 And that always brings together lots of artists gathering in this city. 61 00:06:24,430 --> 00:06:29,710 So, Roger, of on the way the new 40 50 already travels to Italy. 62 00:06:29,710 --> 00:06:38,910 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. 63 00:06:38,910 --> 00:06:43,360 Well, he just yeah, it's a visit. It's sort of touristic fits. 64 00:06:43,360 --> 00:06:50,050 It's that he does. Other artists will, for example, younger artists, because we're not sure of the why that goes. 65 00:06:50,050 --> 00:06:52,340 He's already an established artist. 66 00:06:52,340 --> 00:07:02,570 Young artists who will go to Italy really to learn to soak up the Italian art, not just of of painters, of contemporary painters. 67 00:07:02,570 --> 00:07:09,250 Also the old master painters, that would be of which paintings would be hanging in the palaces. 68 00:07:09,250 --> 00:07:14,570 But also an especially, I think, in the 16th century is for the Roman antiquities. 69 00:07:14,570 --> 00:07:19,870 This is the periods of all the excavations in Rome, and that really creates a bus in Europe. 70 00:07:19,870 --> 00:07:27,110 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. 71 00:07:27,110 --> 00:07:38,260 So they are of these Roman antiquities. Other artists go to Italy for religious reasons, for example, after the iconoclasm. 72 00:07:38,260 --> 00:07:44,590 They want to go to a Catholic country, for example, and maybe hope to find work there. 73 00:07:44,590 --> 00:07:49,930 Some of them enter Italian workshops, starts working for Italian colleagues. 74 00:07:49,930 --> 00:07:57,910 Others set up their own workshop. Others may be printmaker will start working for print publishers in Rome. 75 00:07:57,910 --> 00:08:09,580 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. 76 00:08:09,580 --> 00:08:17,260 So if we then start with the 16th century, so one of the first Netherlanders artists to go to Italy and again, 77 00:08:17,260 --> 00:08:22,510 this is a bit like culture from the way then as a very short visit to see uncrossed arts. 78 00:08:22,510 --> 00:08:28,300 And here you see a very beautiful study of the spine know. 79 00:08:28,300 --> 00:08:38,350 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. 80 00:08:38,350 --> 00:08:46,630 So he accompanies his patron, Philip of Burgundy, who is a bastard son going for an audience with Pope Julius. 81 00:08:46,630 --> 00:08:53,210 The second. A later fister to Italy. 82 00:08:53,210 --> 00:08:59,000 And maybe I shouldn't call him Office three, because this artist, often squirrelled is Dutchman. 83 00:08:59,000 --> 00:09:04,340 He stays a lot longer in Italy, so he leaves in fifteen, eighteen. 84 00:09:04,340 --> 00:09:09,140 He goes to Venice, then travels to the Holy Land to visit Jerusalem. 85 00:09:09,140 --> 00:09:14,630 Got views of Jerusalem by him. Then comes back to Rome when he comeback's comes back to Rome. 86 00:09:14,630 --> 00:09:21,950 The Dutch pope ATRA in the 6th is in charge and he promptly offers him a job as curator of the Vatican, 87 00:09:21,950 --> 00:09:29,330 which was quite extraordinary, if you think about it. So half a Dutch charters become a curator in the early 16th century. 88 00:09:29,330 --> 00:09:36,630 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. 89 00:09:36,630 --> 00:09:41,510 There's even some maybe a bill or a calculation in the top right corner. 90 00:09:41,510 --> 00:09:44,210 And then in the distance, we see the permit of assessors. 91 00:09:44,210 --> 00:09:54,260 And then in the foreground, some very loose, sketchy sketches that you made of some sculpture. 92 00:09:54,260 --> 00:10:03,740 Then if we think of 50, 70 and this was, quote, an important year for Netherlanders artists and particularly tapestry designers, 93 00:10:03,740 --> 00:10:11,190 because that's the year when Raffaelle comes over to Brussels and to complete the cartoons that he was designing, 94 00:10:11,190 --> 00:10:17,850 the acts of the Apostles cartoons to be hung in the Sistine Chapel in the Vatican. 95 00:10:17,850 --> 00:10:26,090 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. 96 00:10:26,090 --> 00:10:34,280 And after the tapestries were finished, the big cartoons that designs for discover the tapestries would remain with the weavers. 97 00:10:34,280 --> 00:10:40,340 And so they were available for netherlands' artists, tapestry designers to see a study. 98 00:10:40,340 --> 00:10:46,120 And that creates a sort of mass not, well, a big immigration of tapestry designers. 99 00:10:46,120 --> 00:10:47,000 So far, not one. 100 00:10:47,000 --> 00:11:00,200 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. 101 00:11:00,200 --> 00:11:07,130 And you can see some fragments of cartoon by Peter Kempner, who is also known as Pedro Campagna here. 102 00:11:07,130 --> 00:11:14,310 And actually, the Ashmolean has a very good collection of, as you can see, Cotard's fragments of these tapestry of. 103 00:11:14,310 --> 00:11:22,250 So might be worth coming to see them in our study room. Also, Micheel Coxie goes to Italy. 104 00:11:22,250 --> 00:11:32,240 So we can see that in the 50 twenties, it's mainly tapestry designers coming from Brussels to Italy to study tapestry design. 105 00:11:32,240 --> 00:11:36,520 If we then move into the fifteen thirties, we see a very different story. 106 00:11:36,520 --> 00:11:40,730 These are more artists. So as you know, Rafael dies in fifteen twenty. 107 00:11:40,730 --> 00:11:45,930 So now we're going to see artists who get who are more drawn towards Michelangelo. 108 00:11:45,930 --> 00:11:51,680 And one of the most famous artists of that decade going to Rome as Martin Van Hame skerrick. 109 00:11:51,680 --> 00:11:54,920 And when he arrived there, he was already quite, 110 00:11:54,920 --> 00:12:02,300 quite an established scientist and he was much admired by his Italian colleagues for his his landscape arts. 111 00:12:02,300 --> 00:12:09,050 And as you can see, he makes these stunning studies off off of classical such sculpture. 112 00:12:09,050 --> 00:12:16,940 But also what is quite interesting, most of the drawings we have are individual studies of a sculpture, Marten's, on him. 113 00:12:16,940 --> 00:12:24,410 My home scared us. If he gives us views of the palaces, so we actually get a view of how. 114 00:12:24,410 --> 00:12:31,660 And here we see the sculpture garden in the Vatican on the right of how it actually looks in the 50 30s. 115 00:12:31,660 --> 00:12:39,980 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. 116 00:12:39,980 --> 00:12:45,260 That's quite interesting to get a sort of armchair tourism like you. 117 00:12:45,260 --> 00:12:53,540 You get to see what was on offer by just looking at these drawings in the 50 foot forties. 118 00:12:53,540 --> 00:13:03,500 We see a different kind of artist going to Rome and we see a lot more prince makers, print publishers going to Italy. 119 00:13:03,500 --> 00:13:10,700 And one of them was the very successful Hieronymus Kok, who was, after he was returned to Antwerp, 120 00:13:10,700 --> 00:13:15,470 again, become one of the most prolific print publishers in Europe. 121 00:13:15,470 --> 00:13:20,420 So he goes to Rome in the 50s and 40s, sketches a lot of ruins. 122 00:13:20,420 --> 00:13:27,470 Then when it comes back in 50, 51, he publishes this a big series of these ruins and they become hugely popular. 123 00:13:27,470 --> 00:13:32,510 They get republished over decades. Other people will copy them in smaller formats. 124 00:13:32,510 --> 00:13:40,250 So there's clearly a hunger and appetite to see these Roman views in Europe. 125 00:13:40,250 --> 00:13:46,130 Of course, one of the most famous people to visit Italy in the 15 50s is feature political. 126 00:13:46,130 --> 00:13:51,440 The Elder, who is the father of our young Bruegel, the elder who we will discuss later. 127 00:13:51,440 --> 00:13:56,870 And for Brueghel, it's it's different. And he doesn't necessarily go there to see the ruins. 128 00:13:56,870 --> 00:14:04,430 What he's really impressed about is the landscape. So when he crosses the Alps, it completely turned his life around. 129 00:14:04,430 --> 00:14:06,740 And they will appear in all of his later works. 130 00:14:06,740 --> 00:14:17,300 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. 131 00:14:17,300 --> 00:14:24,390 And then when he goes back to Antwerp, then we see that he collaborates with his friends, Hieronymus Kok, to publish another. 132 00:14:24,390 --> 00:14:28,430 So first Coke publishes the ruins and Brokaw comes back. 133 00:14:28,430 --> 00:14:34,400 He publishes a set of large landscapes based on Brokaw's impressions of Italy. 134 00:14:34,400 --> 00:14:43,030 And they were very popular as well. And we issued them copy. It's imitated. 135 00:14:43,030 --> 00:14:50,080 So another printmaker who would go to Rome and this is one of my favourite printmaker says Cornell Court, 136 00:14:50,080 --> 00:14:55,510 and he's not just a visitor when he goes to Italy. He really goes starts to stay. 137 00:14:55,510 --> 00:14:59,690 He wants to work in Italy. He wants to settle down. 138 00:14:59,690 --> 00:15:05,620 You have to remember where it's around 50, 66, six of the iconoclasm has happened. 139 00:15:05,620 --> 00:15:09,700 So lots of artists are moving south from the north. 140 00:15:09,700 --> 00:15:15,550 And so Cornelis Courtice, one of them, and he is the most talented engraver of his time. 141 00:15:15,550 --> 00:15:22,270 And so he immediately finds works and publishes Worksop or Salamanca left for free. 142 00:15:22,270 --> 00:15:32,740 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. 143 00:15:32,740 --> 00:15:36,530 The fact that he was admired is also you can see it's been hand coloured. 144 00:15:36,530 --> 00:15:41,240 The prince afterwards, which was done sort of 10 years after the prince was actually made. 145 00:15:41,240 --> 00:15:48,240 So in the 50s, 70s. But the fact that someone invests so much money in the hands colouring and it's 146 00:15:48,240 --> 00:15:52,720 heightened with gold really means that this prince was highly appreciated, 147 00:15:52,720 --> 00:16:01,170 that it was regarded as a top end luxury product that deserved to be embellished like this. 148 00:16:01,170 --> 00:16:08,440 Then in the 50s, 70s, more and more Netherlanders artists really go to Italy to stay. 149 00:16:08,440 --> 00:16:15,580 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. 150 00:16:15,580 --> 00:16:19,870 So there's a lot of decoration projects going on in the Vatican palaces. 151 00:16:19,870 --> 00:16:30,310 And a lot of these artists eventually will find work making fresco and making frescoes in some of the palaces. 152 00:16:30,310 --> 00:16:33,460 The northern artists are very renowned for their landscape skills. 153 00:16:33,460 --> 00:16:41,550 So what happens is they usually enter into a collaboration with their Italian counterparts, whereby the northern artists will draw all the landscapes. 154 00:16:41,550 --> 00:16:48,130 And we're talking about people like Bartolomé Springer or Yance Picards, as you can see here, 155 00:16:48,130 --> 00:16:55,930 while Italian artists like Antonio Tempesta will then provide the figures for these frescoes. 156 00:16:55,930 --> 00:17:07,570 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. 157 00:17:07,570 --> 00:17:12,970 As you can see here, these artists really assimilate the Italian culture like this is. 158 00:17:12,970 --> 00:17:18,640 If I would see this drawing in a collection, I would not necessarily think this was done by a netherlands' artist. 159 00:17:18,640 --> 00:17:29,560 This is really someone assimilating Italian culture in order to then get commissions and work for the popes in Rome. 160 00:17:29,560 --> 00:17:35,020 Two other artists who who go over around the same time and follow the same path, 161 00:17:35,020 --> 00:17:41,950 romance also working and the people policies are the two brothers, smartarse Brill and Paul Burrell. 162 00:17:41,950 --> 00:17:48,950 And they were hugely talented. It's a fabulous landscape. Artists, as you can see here, this tree is just magnificent. 163 00:17:48,950 --> 00:17:54,580 It's very it's quite an inferential tree has been copied by many Italian artists. 164 00:17:54,580 --> 00:18:03,410 Afterwards, when you go to Rome and go through the Vatican policies, you can actually find this tree in many of the frescoes. 165 00:18:03,410 --> 00:18:14,830 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. 166 00:18:14,830 --> 00:18:20,230 So he arrives there in fifteen seventy five an instant. 167 00:18:20,230 --> 00:18:30,430 An instant success gets commissioned to, for example, do the decorations of the Gregorian tower or the sort of the fancy and the Vatican. 168 00:18:30,430 --> 00:18:37,960 But then suddenly in fifteen eighty three he dies unexpectedly, which is a great loss even for Italian art. 169 00:18:37,960 --> 00:18:43,900 I would say luckily the year before, in fifteen eighty two, he was joined by his younger brother, 170 00:18:43,900 --> 00:18:50,140 Paul Bril, in Rome, and he then takes over the workshop and the commissions. 171 00:18:50,140 --> 00:18:56,290 And luckily, as you will see later on, he also keeps all the sketches, all the sketchbooks by his brother, 172 00:18:56,290 --> 00:19:06,070 which he then generously allows other Netzer and the Netherlands artists to come and study in their house and copy. 173 00:19:06,070 --> 00:19:10,720 So here we see some drawings by Paul Bril again. 174 00:19:10,720 --> 00:19:15,730 Paul Burrell, in the wake of his brother, my task was very popular, highly collected. 175 00:19:15,730 --> 00:19:21,190 Masses of drawings are still preserved today and in the Louvre, for instance. 176 00:19:21,190 --> 00:19:26,320 And you can see why they were very, very popular. These are very attractive views. 177 00:19:26,320 --> 00:19:35,230 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. 178 00:19:35,230 --> 00:19:46,240 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. 179 00:19:46,240 --> 00:19:52,780 So I can you can see why why he was very popular and collected. 180 00:19:52,780 --> 00:19:57,370 So I said lots of artists were then welcomed by Paul Bril in his house. 181 00:19:57,370 --> 00:20:07,270 One of these artists is the very famous Hendrik Holtz's who who went to Rome in the 15th in 59 to 50, 91. 182 00:20:07,270 --> 00:20:12,010 Of course, Mangels, whose goes to Rome. He's not a young beginning artist anymore. 183 00:20:12,010 --> 00:20:17,590 He's already established Hendrik Goldsmith. He is the best engraver of his time. 184 00:20:17,590 --> 00:20:24,700 And you can see on these sheets that they're so accomplished that they're really capturing the statues. 185 00:20:24,700 --> 00:20:31,840 And all these sheets are taken from from sketchbooks that Gulches took to Rome with him. 186 00:20:31,840 --> 00:20:39,040 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. 187 00:20:39,040 --> 00:20:44,110 You can see that he incorporates all this Michelangelo, bloody same to his friends. 188 00:20:44,110 --> 00:20:50,950 And I think your face has shown you some of his prints and some previous classes, but also in portraiture, 189 00:20:50,950 --> 00:20:58,690 like he gets really inspired by, for example, black and red chalk portraits shows, which are portraits which were done in Italy. 190 00:20:58,690 --> 00:21:04,000 And you can then see that the see that he takes that back to Holland. 191 00:21:04,000 --> 00:21:08,740 I don't want to talk too much about 17th century, so I forgot to say so at the same time. 192 00:21:08,740 --> 00:21:17,620 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. 193 00:21:17,620 --> 00:21:25,600 So just to quickly venture into the 17th century to sort of finish the story of netherlands' artist in Italy, 194 00:21:25,600 --> 00:21:32,890 of course, the first artist, then he goes there in sixteen hundreds. Is is the great Peter Paul Reubens from Antwerp. 195 00:21:32,890 --> 00:21:37,210 So he goes there when he's 23c are still quite young. 196 00:21:37,210 --> 00:21:45,670 But the moment he arrives, he gets he gets patron patronage from the Dukes of of Mantua. 197 00:21:45,670 --> 00:21:50,470 His talent is instantly recognised. He's highly demanded as a portraitist. 198 00:21:50,470 --> 00:21:56,980 Then when he moved to Rome, he gets one of the most important commissions of of the first decades of the 17th century, 199 00:21:56,980 --> 00:22:04,660 which is three paintings for the Santa Maria in Valley Chelsea Church in Rome, which were done on Slate. 200 00:22:04,660 --> 00:22:08,290 And here on the left, you see a proprietary drawing for it. 201 00:22:08,290 --> 00:22:12,550 And then the final product in situ on the right. 202 00:22:12,550 --> 00:22:14,020 So this was a great success. 203 00:22:14,020 --> 00:22:23,320 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. 204 00:22:23,320 --> 00:22:27,960 His massive success continues there. 205 00:22:27,960 --> 00:22:35,720 And we know looking at the figures in these paintings, that Rubens was clearly inspired by Italian art, but still remains this. 206 00:22:35,720 --> 00:22:44,050 His Flemish roots, one of his best beautiful funds fundido also went to Italy, probably encouraged by Rubens. 207 00:22:44,050 --> 00:22:49,510 He went for seven years between sixteen, twenty and sixteen, twenty seven. 208 00:22:49,510 --> 00:22:52,300 And surprisingly, he doesn't stay. 209 00:22:52,300 --> 00:22:59,500 He goes straight to Sicily to talk to the sides, where there was also a big contingent of Flemish artists already working there. 210 00:22:59,500 --> 00:23:04,360 So spend some time there. Damn truffles up north and gets really inspired. 211 00:23:04,360 --> 00:23:10,240 Not so much by a Roman antiquities were more by the Titian paintings, by the Rafeal paintings. 212 00:23:10,240 --> 00:23:17,140 And there's a fabulous sketchbook at the British Museum in which he copies all the paintings and he makes a notation saying, 213 00:23:17,140 --> 00:23:26,140 I've seen this painting in the palace of blah, blah, blah. And so you can really follow his trip to Italy. 214 00:23:26,140 --> 00:23:32,230 And then if we jump to the sixteen, thirty, sixteen forties, we see a very different kind of artist going to Italy. 215 00:23:32,230 --> 00:23:37,480 So these are the previous artists we've seen are mostly Flemish. 216 00:23:37,480 --> 00:23:45,160 What we what we're now seeing in the sixteen, thirties and forties are a lot of Dutch of northern Netherlands artists. 217 00:23:45,160 --> 00:23:53,110 And as you can see, they're not necessarily that interested in Roman antiquities or in the old Italian masters. 218 00:23:53,110 --> 00:23:57,910 What they're really there for is for the light, for the Italian light like that, 219 00:23:57,910 --> 00:24:04,470 cauldron lights and all their paintings, even when they return back to hold onto, you'll always see in Dutch. 220 00:24:04,470 --> 00:24:07,800 Things from the sixth and 36, the fourth is that cold and light. 221 00:24:07,800 --> 00:24:14,670 Even if you have found a flat meadow with some cows in it, in the background, you'd get that golden Italian life. 222 00:24:14,670 --> 00:24:25,850 And so they're called the Italian ests. So this is a very sort of special group of artists that will go there. 223 00:24:25,850 --> 00:24:32,340 They're also a separate group of artists, get very inspired by Caravaggio, 224 00:24:32,340 --> 00:24:38,340 and they're called the carrot, the carrot compromise and the carrot, which is the. 225 00:24:38,340 --> 00:24:42,040 And so you see a lot of Clare up secure in their paintings. 226 00:24:42,040 --> 00:24:47,070 So that's a very different strands of of Netherlanders artists. 227 00:24:47,070 --> 00:24:51,480 So once these artists get there, how did they find each other? 228 00:24:51,480 --> 00:24:53,520 How did they organise themselves? 229 00:24:53,520 --> 00:25:03,930 And if we look at the early 16th century, we see that the institutions that they were based in are mainly linked to religious, 230 00:25:03,930 --> 00:25:09,240 probably as charity societies linked to churches and the Priem. 231 00:25:09,240 --> 00:25:16,890 The prime reason for this institutions was, for example, to welcome pilgrims during the whole year, 232 00:25:16,890 --> 00:25:22,530 but also to arrange burials for Netherlands' people who would suddenly die in Italy 233 00:25:22,530 --> 00:25:29,040 as fossils off repatriation or organising of the burial in a foreign country. 234 00:25:29,040 --> 00:25:35,640 And then later on, when there's more and more artists and artisans, clerics from moving into Rome. 235 00:25:35,640 --> 00:25:40,050 This function widens and they become a sort of social network. 236 00:25:40,050 --> 00:25:46,950 When the group of artists I just told you about, the Italians, the ones that come for the golden light in Italy. 237 00:25:46,950 --> 00:25:56,700 When they arrived in in Rome, things changed because in 15, 77, the Accademia design Luca has been founded. 238 00:25:56,700 --> 00:26:01,320 And so there's a lot of rules, a lot of guidelines who need to pay a subscription. 239 00:26:01,320 --> 00:26:10,620 And some artists actually participate in the academia. For example, Paul Bril have held many functions in academia. 240 00:26:10,620 --> 00:26:16,680 This group of Dutch artists that arrived in the 16th, 36 and forties, they're having none of that. 241 00:26:16,680 --> 00:26:21,330 And what they really want from you see a really fun scene here in this drawing. 242 00:26:21,330 --> 00:26:30,300 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. 243 00:26:30,300 --> 00:26:35,760 So indicating they're free from the academy. They all want to adhere to the rules. 244 00:26:35,760 --> 00:26:44,310 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. 245 00:26:44,310 --> 00:26:51,780 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. 246 00:26:51,780 --> 00:27:03,750 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. 247 00:27:03,750 --> 00:27:09,540 So, yeah, they were just really there to have fun. They also get nicknames. 248 00:27:09,540 --> 00:27:18,150 And so, for example, the artist who made this drawing, Peter, from LA, he was called the Bomb Bachu and Bottcher story, 249 00:27:18,150 --> 00:27:24,300 which means ugly puppets, and apparently because his body proportions were a bit awkward. 250 00:27:24,300 --> 00:27:29,940 He had a short neck, a long upper body. And so they gave him the nickname Ugly Puppets. 251 00:27:29,940 --> 00:27:36,360 So it's that kind of society with very wild in the sea initiation rites. 252 00:27:36,360 --> 00:27:41,340 So this was was the the overfield before and moving on to Ambrosial. 253 00:27:41,340 --> 00:27:54,120 And here we have our man in a beautiful Etchingham by Anthony Van [INAUDIBLE]. 254 00:27:54,120 --> 00:27:59,680 So I will first briefly say something about his life and then move on to the drawings, 255 00:27:59,680 --> 00:28:08,750 so young Brogo born in 50 60 AIDS, which is sadly a year before Peter Berkel, his father dies. 256 00:28:08,750 --> 00:28:16,180 So we never really got to know his famous father when his mother then later dies 10 years later. 257 00:28:16,180 --> 00:28:20,890 He has to move in with his grandparents. So he has to move from Brussels to Antwerp. 258 00:28:20,890 --> 00:28:26,950 His grandparents or his grandmother or others called Mike Fir Hills. 259 00:28:26,950 --> 00:28:32,290 And she's actually quite a famous painter in her life. Like we don't know if any of her artworks. 260 00:28:32,290 --> 00:28:38,030 Nothing has survived in museums or at least nothing that we recognise as being by her hands. 261 00:28:38,030 --> 00:28:41,640 But she was the widow of Peter Cook of Announced, who we already mentioned. 262 00:28:41,640 --> 00:28:47,340 That's a great tapestry designer and then in the early 16th century. 263 00:28:47,340 --> 00:28:55,450 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, 264 00:28:55,450 --> 00:29:00,780 she teaches them how to paint and with a focus on miniature painting and watercolour. 265 00:29:00,780 --> 00:29:07,780 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. 266 00:29:07,780 --> 00:29:12,340 He's got a lot of money because his father, Peter Brokaw, was so successful. 267 00:29:12,340 --> 00:29:20,380 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. 268 00:29:20,380 --> 00:29:26,200 So we know that he travelled to Italy over Cologne around 15, 88. 269 00:29:26,200 --> 00:29:31,330 And then he arrives in in Naples in 15, 89. 270 00:29:31,330 --> 00:29:36,910 So it's interesting, they're not all artists directly go to Rome, but that they go to different places as well. 271 00:29:36,910 --> 00:29:45,190 So here we have two views which were previously attributed to you haven't broken the elder of Naples. 272 00:29:45,190 --> 00:29:48,700 I'm not sure. I don't think they're very strong drawings. 273 00:29:48,700 --> 00:29:57,880 And in fact, if you look on the first row of them, they hold inscriptions saying, for instance, Rome, fifteen ninety five, 274 00:29:57,880 --> 00:30:07,030 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. 275 00:30:07,030 --> 00:30:14,460 So I think these are probably not by Umbro Hall himself, but rather copies made afterwards by someone else. 276 00:30:14,460 --> 00:30:18,430 So by 50, 92 and Procol does arrive in Rome. 277 00:30:18,430 --> 00:30:23,150 And here we got a very nice view of the reply. 278 00:30:23,150 --> 00:30:29,970 And you see already some of the elements they Umbro, who would become very famous for the exact topography, 279 00:30:29,970 --> 00:30:40,400 but also creating death by placing all this tiny, miniscule figures in the foreground. 280 00:30:40,400 --> 00:30:43,620 We know that when the, um, broke all arrived in Rome, 281 00:30:43,620 --> 00:30:52,010 that he would stay with Paul Pillar because by that time of first rule, of course, has already died in fifteen eighty three. 282 00:30:52,010 --> 00:31:02,150 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. 283 00:31:02,150 --> 00:31:07,280 When he is in Rome, he gets to know one of the Milanese cardinals, Frederico Borromeo, 284 00:31:07,280 --> 00:31:17,630 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. 285 00:31:17,630 --> 00:31:24,290 So when he comes back to answer, he really needs to live up to his reputation because he is the son of Peter Berkel. 286 00:31:24,290 --> 00:31:32,270 So he starts a workshop and he clearly inherited his father's talents and becomes very successful. 287 00:31:32,270 --> 00:31:35,090 We know him as the flower Brueghel. We'd know him. 288 00:31:35,090 --> 00:31:42,650 That's the velvet protocol, because he's extremely good in rendering textures and in different realistic appearances. 289 00:31:42,650 --> 00:31:49,350 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. 290 00:31:49,350 --> 00:31:57,220 I think of these big still lives, the flower pieces, or even more so that white landscapes, 291 00:31:57,220 --> 00:32:03,140 the panoramic landscapes that just take you in with the hundreds of little figures in the foreground. 292 00:32:03,140 --> 00:32:07,440 So that's what he becomes really famous for. Very prolific. 293 00:32:07,440 --> 00:32:11,930 And you can see why have these kinds of works which would appeal to a wider 294 00:32:11,930 --> 00:32:16,310 audience if if you want to commissioner paintings to hang in your living room, 295 00:32:16,310 --> 00:32:22,610 you can see how this would be very attractive to have paintings like that, 296 00:32:22,610 --> 00:32:30,950 because he was so talented in and representing these these realistic textures, he's often asked as a collaborator. 297 00:32:30,950 --> 00:32:35,150 So when he's back in Antwerp, he collaborates a lot with roupas, for instance, 298 00:32:35,150 --> 00:32:40,550 whereby rouble's would provide the big figures in a painting and then the Umbra who 299 00:32:40,550 --> 00:32:45,890 would do the background landscape or the flowers which are scattered in the foreground. 300 00:32:45,890 --> 00:32:52,040 And that's typical. And to our practise, where they're not comp competitors, they're not working against each other. 301 00:32:52,040 --> 00:32:59,000 They're all working together and sort of making the best products they can make in their city by combining forces. 302 00:32:59,000 --> 00:33:09,110 So then he dies quite young, 16, 25, he dies in Antwerp and ironically, he dies when his son, 303 00:33:09,110 --> 00:33:14,960 who was also called Tambra, also younger, healthier, younger than when he was doing his trip in Italy. 304 00:33:14,960 --> 00:33:23,900 So this poor young artist has to rush back to Antwerp to then take over this hugely successful workshop of his father, Young Brokaw. 305 00:33:23,900 --> 00:33:31,340 But that's another story. So we know that by Umbro Hall, we have roughly 200 drawings that have survived. 306 00:33:31,340 --> 00:33:39,080 And most of these come from his Italian trip between fifteen eighty nine and fifteen ninety six. 307 00:33:39,080 --> 00:33:48,500 So I've already mentioned that he's sort of a company of of Paul Bril who held the drawings by Martha Espero. 308 00:33:48,500 --> 00:33:51,420 Also my mother Hasbro dies and fifteen to three. 309 00:33:51,420 --> 00:34:00,320 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. 310 00:34:00,320 --> 00:34:06,590 And what is really good art, as you can see here, is accurate, architectural or slinky. 311 00:34:06,590 --> 00:34:11,120 He applies this sort of art were very rare by you. 312 00:34:11,120 --> 00:34:15,710 Look at the buildings from a lower viewpoint and they create this fantastic perspective. 313 00:34:15,710 --> 00:34:21,470 And so there's lots of these architectural studies, almost mathematical studies, I would say, 314 00:34:21,470 --> 00:34:28,310 and these motifs, you or them, finds replicated in the frescoes in the Vatican. 315 00:34:28,310 --> 00:34:32,030 He also does another sort of throwing sort of like this. 316 00:34:32,030 --> 00:34:36,920 The forum Ramanan, which you'll find the bit a lot more attractive, I say, than this. 317 00:34:36,920 --> 00:34:40,100 This is quite dry. It's quite measures. 318 00:34:40,100 --> 00:34:50,510 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. 319 00:34:50,510 --> 00:34:58,730 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. 320 00:34:58,730 --> 00:35:06,770 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. 321 00:35:06,770 --> 00:35:16,430 But the question is, was there was there just a field or did says Brill, then maybe leave a blank. 322 00:35:16,430 --> 00:35:21,550 So Prince makers could then at foreground figures, sort of fruit compare. 323 00:35:21,550 --> 00:35:23,930 So this is the drawing by Martell's Brill, 324 00:35:23,930 --> 00:35:30,920 one of the artists who stay with Paul Brill along from Newill and the younger he when he came back home to Holland. 325 00:35:30,920 --> 00:35:38,360 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. 326 00:35:38,360 --> 00:35:47,630 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. 327 00:35:47,630 --> 00:35:54,890 These principles, as I've already mentioned before, for example, that here most here on this cock and series of the Roman ruins, 328 00:35:54,890 --> 00:36:02,540 but also the pope, Procol Peter Brogo landscapes, which here in this cock published were extremely popular. 329 00:36:02,540 --> 00:36:08,750 And as I said before that keeping republished and here we have a few of the forum of NERVA. 330 00:36:08,750 --> 00:36:16,760 And then when we look at the drawing by Hasbro, which is kept in the messier, the Louvre, we see it's very similar. 331 00:36:16,760 --> 00:36:22,190 So all these stunning drawings, for example, like these by my first bill, 332 00:36:22,190 --> 00:36:29,030 which we think that's original works of art, in fact, then go back to early or mid 16th century prints. 333 00:36:29,030 --> 00:36:33,500 And then there's, of course, the question like how many few points can you get when you go to Rome? 334 00:36:33,500 --> 00:36:39,290 Like, what one's the best viewpoints of a certain set of ruins has been established. 335 00:36:39,290 --> 00:36:45,530 It might be logical that all artists sort of go and stand on that position to make their drawing. 336 00:36:45,530 --> 00:36:52,190 But it's nevertheless very interesting. And I think it shows that Netherlanders artists sort of hark back to the past. 337 00:36:52,190 --> 00:37:01,000 Keep repeating very popular motives and then reusing them in a creative way. 338 00:37:01,000 --> 00:37:04,230 So a lot of these drawings by First Bril have survived. 339 00:37:04,230 --> 00:37:10,980 As I said, partly because for Bril, Capital was clearly very proud of his brother's work and his older brothers. 340 00:37:10,980 --> 00:37:21,700 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. 341 00:37:21,700 --> 00:37:33,550 Here we have a few of the forum born with a A code half, which is ironic for the forum. 342 00:37:33,550 --> 00:37:38,970 And then here we have a very nice, I think a signature by Martez Braille's, 343 00:37:38,970 --> 00:37:47,060 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. 344 00:37:47,060 --> 00:37:53,740 So I think that's quite nice. And this also proves that this is an autographed sheet by my test bril, 345 00:37:53,740 --> 00:37:58,720 because if we look a bit further, we'll find two more versions of exactly the same drawing. 346 00:37:58,720 --> 00:38:07,150 So this is my first Braille sheet. And then there's two more drawings and it's very difficult to find any differences to 347 00:38:07,150 --> 00:38:13,350 really ascribe a specific hand so that we really have to sort of start looking at detail. 348 00:38:13,350 --> 00:38:17,770 So luckily, here we have the signature so we can attribute to my transferral. 349 00:38:17,770 --> 00:38:24,340 Here we have this inscription here which says October fifty ninety four in Rome. 350 00:38:24,340 --> 00:38:28,390 And we know that that ACMD beautiful signature from letters that have survived. 351 00:38:28,390 --> 00:38:36,160 So luckily we can attribute this. There's a third version in Chatsworth in the definition collection, which also has an inscription, 352 00:38:36,160 --> 00:38:42,310 fifteen ninety nine when we know Ambrosial is not in in Rome anymore. 353 00:38:42,310 --> 00:38:52,120 But we have no idea who we need to attribute this destroying to because the hands, the individual characteristics of the artist have disappeared. 354 00:38:52,120 --> 00:38:57,940 So it's very difficult and a lot of research still needs to be done. 355 00:38:57,940 --> 00:39:06,010 If we compare the first Bril and the unbroken drawing, I can hardly see any differences. 356 00:39:06,010 --> 00:39:12,500 Even the hatchway, the peignoir is very similar. Sometimes you can find small differences here. 357 00:39:12,500 --> 00:39:20,020 The difference here. So but this is clearly an exact copy. This is clearly meant by unburnable to copy my test. 358 00:39:20,020 --> 00:39:25,210 Brill's drawing a similar example here to a few of the SEPTA's or Neum. 359 00:39:25,210 --> 00:39:32,050 This is drawing but Imperiale in the law firm. 360 00:39:32,050 --> 00:39:38,900 So then here again, we have the original by Unbroken in the British Museum with a very similar inscription as well. 361 00:39:38,900 --> 00:39:48,330 They say 50, 94, and then here an anonymous version in Chatsworth, they put 50 99. 362 00:39:48,330 --> 00:39:51,600 However, when we now compare the Bril and the vertical sheets, 363 00:39:51,600 --> 00:39:58,620 we can actually find a few differences, especially in the lower right corner and Abril drawing. 364 00:39:58,620 --> 00:40:07,380 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. 365 00:40:07,380 --> 00:40:13,500 Also, when you look at the trees and in the right background, you can see there are clear differences. 366 00:40:13,500 --> 00:40:19,530 And interestingly, if we go back to the charts we're drawing, we see the Chatsworth drawing. 367 00:40:19,530 --> 00:40:25,110 Actually copying the details that have been changed by Bramhall and not by Bril. 368 00:40:25,110 --> 00:40:33,720 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, 369 00:40:33,720 --> 00:40:41,250 as has been previously suggested, but rather after Umbro Common back to Antwerp 50 99, 370 00:40:41,250 --> 00:40:50,040 a young artist entered this workshop and decided to practise his hands by copying his masters or profiles drawings. 371 00:40:50,040 --> 00:40:57,570 But this one, this is a view of the arch of Septimius Seafarer's. And in fact, we have seven versions of this drawing. 372 00:40:57,570 --> 00:41:03,150 So it's not just a one off. It's not just the Umbro calls thing and pulp mills house and copying joins. 373 00:41:03,150 --> 00:41:07,000 It's a whole other so wider group of artists were, too. 374 00:41:07,000 --> 00:41:13,950 It's a common practise. When you go to Rome, you stay in Paul Brill's house and you copy my brittle strawn's. 375 00:41:13,950 --> 00:41:18,960 And if you look carefully at the top, right, you can see an inscription on the first row. 376 00:41:18,960 --> 00:41:27,480 And this is Paul Brill making an annotation on the back, saying this is the best drawing a half by my brother. 377 00:41:27,480 --> 00:41:31,680 Matarasso is clearly very proud of Detroit's wants to share them. 378 00:41:31,680 --> 00:41:38,490 So here is then the drawing we think can be attributed to young bramhall in the Metropolitan Museum. 379 00:41:38,490 --> 00:41:44,070 There's a third one which has in the literature been attributed to a young girl who was born in Chatsworth. 380 00:41:44,070 --> 00:41:51,990 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. 381 00:41:51,990 --> 00:41:57,640 Friends Covenant's in Amsterdam and there's another one in Berlin, another one in a private collection. 382 00:41:57,640 --> 00:42:02,010 And so there still a lot of research to be done. Who are these artists? 383 00:42:02,010 --> 00:42:06,010 Also, we know Matt says Bril wasn't hired by his Italian colleagues. 384 00:42:06,010 --> 00:42:16,710 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. 385 00:42:16,710 --> 00:42:21,380 So there's still a lot of research. So the question I think is why? 386 00:42:21,380 --> 00:42:26,490 Why are there so many? Joynes why as a young artist, when when you're in Italy, when you're in Rome, 387 00:42:26,490 --> 00:42:30,870 why don't you just go outside and enjoy the sunshine and make your own sketches? 388 00:42:30,870 --> 00:42:36,660 Why do you stay so inside someone's house and make meticulous copies? 389 00:42:36,660 --> 00:42:41,520 I think there's different reasons. They are young artists, so they still need to build up their confidence. 390 00:42:41,520 --> 00:42:50,700 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. 391 00:42:50,700 --> 00:42:57,000 So maybe he wants to have an image, a motive for a future work of a building that doesn't exist anymore. 392 00:42:57,000 --> 00:43:02,130 Maybe Paul Bril employed them to really start working in the style of his brother 393 00:43:02,130 --> 00:43:06,900 and then create works of art in the Sullivan brothers so he can continue. 394 00:43:06,900 --> 00:43:14,640 He can complete the many commissions he has. So there are many, many, many reasons. 395 00:43:14,640 --> 00:43:19,660 So here's another sheet. This is the two rows of Skippy. 396 00:43:19,660 --> 00:43:27,120 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. 397 00:43:27,120 --> 00:43:31,080 And you see these clearly come from sketchbooks. They're very dirty sheets. 398 00:43:31,080 --> 00:43:37,600 They contain stains, all the things they've been handled along the arches. 399 00:43:37,600 --> 00:43:45,290 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. 400 00:43:45,290 --> 00:43:52,620 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. 401 00:43:52,620 --> 00:43:57,030 And there's many more paintings of protocol in which this building then appears. 402 00:43:57,030 --> 00:44:02,240 And that's fun. When you're researching Procol, you can sort of it's like a jigsaw puzzle. 403 00:44:02,240 --> 00:44:06,480 It takes different elements and then brings them all together in one painting. 404 00:44:06,480 --> 00:44:14,640 And that is one of the reasons why he might so meticulously copied this Matisse Brill Droits. 405 00:44:14,640 --> 00:44:20,470 This is another drawing attributed to young brokerage within the famous Hill Custodio in Paris. 406 00:44:20,470 --> 00:44:24,390 And when I look at there, I see another one of these smartarse Brill drawings. 407 00:44:24,390 --> 00:44:27,150 But we have the inscription by Ambrosial. 408 00:44:27,150 --> 00:44:35,610 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. 409 00:44:35,610 --> 00:44:42,150 But Procol damned us. And now we're sort of in the 15th. Nineteen three, fifteen ninety four. 410 00:44:42,150 --> 00:44:46,640 He becomes more confident and this is another version of the Temple of the. 411 00:44:46,640 --> 00:44:51,800 Well, actively and here you can really see Ambrosial developing. 412 00:44:51,800 --> 00:44:56,330 So I told you that he's been trained in watercolour basements on your grandmother. 413 00:44:56,330 --> 00:45:01,460 And this is very typical of an unbroken to work with Brown Marsh by specially with the blue wash, 414 00:45:01,460 --> 00:45:09,350 which then creates all these different layers of depths. So I think here we see a more confident artist developing, 415 00:45:09,350 --> 00:45:17,180 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. 416 00:45:17,180 --> 00:45:22,100 And it's like here we see the very typical portrayals or angry discussed before. 417 00:45:22,100 --> 00:45:30,700 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. 418 00:45:30,700 --> 00:45:36,760 So here we have the casts or Sant'Angelo. This is then the version that young Procol makes. 419 00:45:36,760 --> 00:45:43,740 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. 420 00:45:43,740 --> 00:45:49,330 This is a lot more spontaneous. You have to blue wash to see if the figures in the foreground. 421 00:45:49,330 --> 00:45:54,940 It's a real scene. And this is really appropriate next. 422 00:45:54,940 --> 00:46:00,110 And then so here in the 19 threes fifty 90 fourth, this is a second group of drawings. 423 00:46:00,110 --> 00:46:04,250 Briefly, I want to show you, these are all views of the Colosseum. 424 00:46:04,250 --> 00:46:08,420 And you see they're completely different from the copies he made after much as Bril. 425 00:46:08,420 --> 00:46:15,080 So we've got a really beautiful shoots at the Ashmolean. There's a similar one at the British Museum. 426 00:46:15,080 --> 00:46:20,720 And then this one in Berlin. So you see they're very spontaneous. He uses lots of watch. 427 00:46:20,720 --> 00:46:31,710 They're very, very pretty drawings. I think. No last group of drawings by Owen Protocol I wanted to talk to you about. 428 00:46:31,710 --> 00:46:38,610 Again, there's one sheet at the Ashmolean, which you should all, of course, come and see in the French room. 429 00:46:38,610 --> 00:46:44,310 And so if you look at this, there's sort of a combination of the of the drawings I've shown you earlier. 430 00:46:44,310 --> 00:46:50,010 So they're not the flamboyant, spontaneous Colosseum sketches like these. 431 00:46:50,010 --> 00:46:54,000 They're not the stiff controlled drawings. 432 00:46:54,000 --> 00:46:58,530 After my first Grilk with this sort of something in between. We have the blue washer's. 433 00:46:58,530 --> 00:47:07,680 We have the white panoramic landscapes going in with this since we have the group of foreground figures which are so typical of Bril. 434 00:47:07,680 --> 00:47:11,280 But I don't know. I feel like I'm missing something. 435 00:47:11,280 --> 00:47:19,350 Something of that spontaneity that we find in his in his original drawings is lacking here. 436 00:47:19,350 --> 00:47:25,370 In fact, this is part of a group of four drawings. So we've got one in Oxford then. 437 00:47:25,370 --> 00:47:30,150 And so the Oxford boy, I should say, is they're all of use of the West from both Naples. 438 00:47:30,150 --> 00:47:37,230 So they're mostly fuse of pots of Orli and buy. So here we have the so-called two of repeater. 439 00:47:37,230 --> 00:47:42,480 Here we have the Temple of Venus or Diana at Bayah at the British Museum. 440 00:47:42,480 --> 00:47:46,710 Another sheet for the British Museum, Temple of Mercury or Echo. 441 00:47:46,710 --> 00:47:55,890 And then very recently in 2005. This drawing was sold at Christie's and it inserts an atmosphere of private collection. 442 00:47:55,890 --> 00:48:03,030 So these are unidentified wounds are possible. So these are all clearly from the same group. 443 00:48:03,030 --> 00:48:09,420 They'll show they're done on the same kind of paper then in the same technique. 444 00:48:09,420 --> 00:48:14,160 They represent buildings from the same region. So it's clearly a group. 445 00:48:14,160 --> 00:48:16,730 They also share a lot of the same provenance. 446 00:48:16,730 --> 00:48:25,200 So, for example, the numbers you see in the lower right corner can be identified as belonging to pure closer. 447 00:48:25,200 --> 00:48:31,740 Then another stamp attribute to long behalf. So these drawings as group of terms for some reasons, and through them, 448 00:48:31,740 --> 00:48:38,250 France in the 18th century and then the drawing that has most recently surfaced 449 00:48:38,250 --> 00:48:44,940 on the market was then previously sold in nineteen seventy five in Amsterdam. 450 00:48:44,940 --> 00:48:50,010 So they've again like the Matisse Brill drawings. We saw the unbreakable drawings before. 451 00:48:50,010 --> 00:48:58,770 These drawings were probably kept in sketchbook kept together, and then they enter collections at some point during their collection history. 452 00:48:58,770 --> 00:49:01,260 So here are the four drawings together. 453 00:49:01,260 --> 00:49:07,090 And another point that they all share, which you can see from the Dutch deleverages, is that they're all indented. 454 00:49:07,090 --> 00:49:17,880 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, 455 00:49:17,880 --> 00:49:22,680 the figures in order to transfer the composition onto another sheet. 456 00:49:22,680 --> 00:49:30,750 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. 457 00:49:30,750 --> 00:49:35,910 Another work of art. And in fact, all these prints have been turned into prints. 458 00:49:35,910 --> 00:49:41,250 So these are the drawings. These are the prints. As you know, normally prints are in reverse. 459 00:49:41,250 --> 00:49:43,380 These drawings are all in the same direction, 460 00:49:43,380 --> 00:49:50,910 which is an important aspect of topographical fused because you want to have them on the prints as they appear in real life. 461 00:49:50,910 --> 00:50:00,060 So there must have been an intermediary drawing made by the printmaker in reverse, which is why are original drawings are invented. 462 00:50:00,060 --> 00:50:04,890 So these four prints all come from a series engraved by a heathy Assad. 463 00:50:04,890 --> 00:50:12,570 And you see this man at the bottom and the caption. And they were published in a series called Of the Statue. 464 00:50:12,570 --> 00:50:17,850 Fell on tickets out of your mind to fully put swivel on ultra walking. 465 00:50:17,850 --> 00:50:26,610 So it's it's a set of of of ruins of antique ruins showing Rome, Tivoli plots of all the other places. 466 00:50:26,610 --> 00:50:33,640 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. 467 00:50:33,640 --> 00:50:40,230 So I said some parts in Praga. It's been published in Italy, this series. 468 00:50:40,230 --> 00:50:44,970 And you can also see a second name of Michael's art here, which was a later publisher. 469 00:50:44,970 --> 00:50:49,980 So they would just add his name onto the copper plate. 470 00:50:49,980 --> 00:50:55,620 So this series house, you can already tell from the title page would really appeal to humanness to amount. 471 00:50:55,620 --> 00:51:02,160 It's an allegorical title page with personal connexions at the same time on 472 00:51:02,160 --> 00:51:07,650 either side of the Tiflis written on a wolf scan referring to Rome's history. 473 00:51:07,650 --> 00:51:11,970 And of course, we'll blow in Prague and six in 06 where we're dealing with the courts. 474 00:51:11,970 --> 00:51:18,690 Or first off, the second, who would surround himself with scholars and scientists and philosophers. 475 00:51:18,690 --> 00:51:30,050 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. 476 00:51:30,050 --> 00:51:36,300 What confounds who's who is a Czech scholar at the court of Rudolf? 477 00:51:36,300 --> 00:51:43,840 Is very interesting in science. He's in correspondence, for example, Galileo, Galileo and Kepler. 478 00:51:43,840 --> 00:51:46,030 And so from that inscription is cleared, 479 00:51:46,030 --> 00:51:55,420 he must have commission sidler when he was in Prague at the Rudolf Court to make this series of antique ruins. 480 00:51:55,420 --> 00:52:04,430 And so we know that Ambrosial also went to Prague in 16 or four, which is two years before this print service was published. 481 00:52:04,430 --> 00:52:08,830 So we can reconstruct the commissioning of this play. 482 00:52:08,830 --> 00:52:18,920 Surprisingly, Sidler then not really comes up with original views, but faces a lot of his views on an older publication from 50 75. 483 00:52:18,920 --> 00:52:24,880 As you can see, the title page of Here by Dipak, which only showed views of Rome. 484 00:52:24,880 --> 00:52:31,700 As you can see from the title and you see it's a lot more old fashioned than the flamboyant title page. 485 00:52:31,700 --> 00:52:39,030 The Sidler creates. And so 38 of the 49 views are taken from the older 50 75. 486 00:52:39,030 --> 00:52:44,830 Sarah, so here we see the Castle Sant'Angelo that the Prohack version and Tzavela version, 487 00:52:44,830 --> 00:52:55,060 which is almost identical apart from the addition of off the sky in the background, which makes them more lively, a few. 488 00:52:55,060 --> 00:53:03,500 So 38 plates from the two Perhacs series and then the additional twelve plates have to come up with new compositions. 489 00:53:03,500 --> 00:53:06,880 So for example, one is cockpit's. This is a few of Tivoli. 490 00:53:06,880 --> 00:53:14,590 What is copied after the famous Peter Burkel Prince, which was published by her rules clock as discussed before. 491 00:53:14,590 --> 00:53:19,110 And then the other plates representing Naples are the plates. 492 00:53:19,110 --> 00:53:28,040 So we have discussed before the plates that were done after an unbroken Straughan, surprisingly unbroken is all acknowledged from any of these plates. 493 00:53:28,040 --> 00:53:31,480 But it's not very uncommon because with topographical views, 494 00:53:31,480 --> 00:53:45,510 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. 495 00:53:45,510 --> 00:53:50,370 So then if we look at these drawings, so they're very different from the ones we've discussed before. 496 00:53:50,370 --> 00:53:53,310 They're not the spontaneous sketches they'll throw homemade. 497 00:53:53,310 --> 00:53:59,010 When this sketch, the coliseums are not the meticulous ones that he made after Matt, says Bril. 498 00:53:59,010 --> 00:54:05,560 But these are intermediary. And I think what happened, this one young Umbro was improper in six, two or four. 499 00:54:05,560 --> 00:54:09,740 And there a drawing at the British Museum, which is science, young Burkel, improper. 500 00:54:09,740 --> 00:54:16,110 So we know exactly who was there. But let's say you're a slacker from wacking. 501 00:54:16,110 --> 00:54:22,120 Feld's must have commissioned Sidler to make a series of Roman ruins. 502 00:54:22,120 --> 00:54:26,010 Sadler must've asked young Brueghel, Oh, you've been in Rome. 503 00:54:26,010 --> 00:54:29,290 You've made many of these sketches. Could you maybe provide me with models? 504 00:54:29,290 --> 00:54:37,530 So that's with the Umbro or make new drawings based on this IRDA or more spontaneous sketches to fit the Ingrey from Saul? 505 00:54:37,530 --> 00:54:39,930 And I think that's worth seeing here. 506 00:54:39,930 --> 00:54:50,880 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. 507 00:54:50,880 --> 00:55:01,320 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. 508 00:55:01,320 --> 00:55:06,475 Thank you.