37-510: Civetta is Italian for "little owl" (Athene noctua). It may also refer to: Names [ edit ] Il Civetta , alias of Flemish Northern Renaissance and Mannerist landscape painter Herri met de Bles (c. 1490 – 1566) Michele Civetta (born 1976), Italian film director Nick Civetta (born 1989), American professional rugby player Santiago Civetta (born 1998), Uruguayan rugby player Other [ edit ] Civetta (contrada) , one of
74-552: A heightened richness of detail. The dissemination of the engravings of Goltzius went hand in hand with the new practice of art theorisation that was new to the 16th century and in which Karel van Mander played an important role. He received budding artists in his home for evenings of communal drawing and study of classical mythology. After the iconoclasm of the Calvinists , religious themes had gone out of fashion and mythology had become popular. However, few painters could afford
111-467: A high viewpoint and rocky masses. They did not aim to create a realistic depiction but an atmospheric effect. Herri met de Bles always included a few small figures involved in a religious episode or everyday activities such as mining, agriculture or trade. The Netherlands Institute for Art History suggests that de Bles was born in Dinant in circa 1510. Several other sources disagree with it. Very little
148-544: A pious mennonite. His earliest works were biblical plays that he wrote while still in Flanders. These have not been preserved. His first spiritual writings are contained in De Gulden Harpe , published in 1597. This poetry volume consists of rather longwinded versification of biblical stories that were intended to educate readers with biblical words. His style developed under the influence of his translation (from
185-861: A significant role in the spread and development of Northern Mannerism in the Dutch Republic. Most of the information about Karel van Mander's life is based on a brief and anonymous biographical sketch included in the posthumous second edition of the Schilder-boeck published in 1618 by Jacob Pietersz Wachter. It is not certain who wrote this biographical sketch with the title t Geslacht, de geboort, plaets, tydt, leven, ende wercken van Karel van Mander, schilder, en poeet, mitsgaders zyn overlyden, ende begraeffenis (The lineage, birth, place, time, life, and works of Karel van Mander, painter and poet, including his death and burial). Various candidates have been proposed including his brother Adam van Mander and
222-457: A trip to Italy such as the one that van Mander had undertaken. His purpose was to educate young painters in the proper artistic techniques. He was a firm believer in the hierarchy of genres . It was his firm belief that only through proper study of existing works it was possible to realize true-to-life historical allegories. His own works included mannerist mythological subjects, but also portraits and genre paintings influenced by Pieter Bruegel
259-694: Is generally less rich than that of Patinir. Along with a group of Antwerp-based followers of Hieronymus Bosch that included Jan Mandyn , Pieter Huys , and Jan Wellens de Cock , de Bles brought the tradition of fantastic imagery into northern Mannerism . Most of his sketches are in German public collections, namely in Berlin and Hamburg, one of them is stored in the Louvre, Paris. Most of his paintings are exhibited in Belgian museums (Namur, Antwerp etc.), besides in
296-523: Is known about the artist. He is believed to be identical to a certain Herry de Patenir who joined Antwerp's Guild of St. Luke in 1533 as a painter. Some speculate he was a nephew of the landscape painter Joachim Patinir, but there is not any kind of historical evidence to support this claim and he may not have trained under him because of their age difference. According to the RKD Art Institute,
333-407: Is the version van Mander probably studied. He set about translating this work into Dutch and it was during this project that he was offered the commission to inventory Haarlem's art collection, a job that resulted in the chapters of his book on Early Netherlandish painters. In both books, the lives of the painters are told in the standard "Vita di ..." manner of Catholic saints, extolling the virtues of
370-542: The satisfactie van Haarlem , which gave Catholics equal rights to Protestants, had been overturned in 1578. Van Mander used his work on the commission in his "Schilder-boeck". While in Haarlem he continued to paint, concentrating his energy on his favourite genre: historical allegories. In 1603 he rented a fortified manor ("het Huis te Zevenbergen"), later renamed Kasteel Marquette in Heemskerk to proofread his book that
407-470: The 'name of embarrassment 'pseudo-Herri met de Bles' (usually now "Pseudo Bles"). The renowned Dutch art institute and research center, RKD describes him as still active in Antwerp in 1566, based on recently discovered contemporary documents. His landscapes are different from Patinir's in that de Bles' work shows more foreground landscapes, a looser composition and greater detail. His choice of colours
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#1732765445293444-536: The 17 contrade districts of Siena, Italy Civettictis civetta , a large viverrid native to sub-Saharan Africa Monte Civetta , major mountain of the Dolomites in northern Italy Civetta, a fictional car brand based on Ferrari , appears in the videogame BeamNG.drive Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Civetta . If an internal link led you here, you may wish to change
481-629: The Elder , such as the Kermis in the Hermitage Museum . Relatively few paintings by him survive. As a writer van Mander worked in various genres: drama, poetry, songs, biography and art theory. He also translated classical literature. His literary production reflects the two sides of his intellectual and spiritual interests: the humanism of the Renaissance and the religious convictions of
518-612: The French) of classical literature such as the Iliad and, in particular, the Bucolica en Georgica of Virgil . He abandoned the heavy style of the rhetoricians for the jambs of Virgil in his bundle of spiritual songs published in 1613 after his death under the title Bethlehem dat is het Broodhuys . Karel van Mander's Schilder-boeck , written in 17th century Dutch and published in Haarlem in 1604 by Passchier van Wesbusch, describes
555-687: The Parisian blood wedding of 1572 in the Palazzo Spada in Terni . He also received commissions for frescoes with landscapes from several cardinals. He studied and became proficient in the painting of grotesques during his Roman residence. His biographical sketch refers to van Mander as the discoverer of "caves" in Rome. This may be a reference to the Catacombs of Rome although the exact meaning of
592-510: The author Gerbrand Adriaensz. Bredero . It has been argued more recently that his son Karel van Mander the Younger was the author of the biographical. He would have relied on biographical information that Karel van Mander had written himself as well as on his own recollections and notes. The information in the biographical sketch is not entirely reliable but is still regarded as the best source of information on van Mander's life. Van Mander
629-432: The blaze and was reportedly given him because of his characteristic white forelock. He may have been the pupil of Lucas Gassel , who was at least 10 years his senior. There are significant similarities between their works about the subject of David and Bathsheba. Besides, they are depicted together (along with Hans Holbein) in a 1764 coloured engraving by Jan l'Admiral with Gassel being in the foreground and de Bles shown in
666-526: The drawings which were important in disseminating the Mannerist style. Van Mander, Goltzius and Cornelis van Haarlem became known as the "Haarlem Mannerists" and artists from other towns joined the movement. Their pictorial language was characterised by a strong awareness of style and cultivated elegance. They strove for artful ingenuity rather than naturalism. They also had a preference for depicting exaggeratedly brawny musclemen, violent drama, wild fantasy and
703-406: The early biographers who used material from his Schilder-boeck for their biographical sketches of Netherlandish painters. His book is still the most-cited primary source in biographical accounts of the lives of many artists he included. Of most interest to art historians is his criticism of the work of these artists, especially when he describes the location and owner of the paintings, thus becoming
740-640: The life and work of more than 250 painters, both historical and contemporary, and explains contemporary art theory for aspiring painters. During his travels and stay in Italy, van Mander had read and was influenced by Giorgio Vasari 's famous biographical accounts of painters in his book Lives of the Most Excellent Painters, Sculptors, and Architects , often referred to as the Vite . It was published in 1550 and republished in 1568 with woodcuts, which
777-464: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Civetta&oldid=1214737418 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Il Civetta Herri met de Bles , also known as Henri Bles, Herri de Dinant, Herry de Patinir,(c. 1490 – after 1566),
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#1732765445293814-614: The minor characters, a beaux arts student, is working on a PhD. thesis on Herri met de Bles. Karel van Mander Karel van Mander (I) or Carel van Mander I (May 1548 – 2 September 1606) was a Flemish painter , playwright , poet , art historian and art theoretician , who established himself in the Dutch Republic in the latter part of his life. He is mainly remembered as a biographer of Early Netherlandish painters and Northern Renaissance artists in his Schilder-boeck . As an artist and art theoretician he played
851-487: The more obscure lower right corner. The notname of "Pseudo Bles" was invented to cover a number of Antwerp Mannerist paintings that had previously been attributed to de Bles, after it was recognised that this was wrong. In 1915 by Max Jakob Friedländer in his work Die Antwerpener Manieristen von 1520 , made a first attempt to put order in the growing number of works from the Netherlands that were catalogued under
888-476: The museum of Naples and the Museum of Art History of Vienna. Other works are circulating among private collectors and auctions. In Richard Powers 's novel The Gold Bug Variations (1991), one of the main characters is working on a dissertation whose subject is Herri met de Bles. The painter's obscurity and his peculiar imagery are woven into the motifs of the novel. In Olga Tokarczuk 's novel " Empuzjon " one of
925-502: The nature of the academy was more of a literary nature. He had an important impact on art in the Dutch Republic when in 1585 he showed his friend Hendrick Goltzius drawings by Bartholomeus Spranger. Spranger was then the leading artist of Northern Mannerism and was based in Prague as the court artist of emperor Rudolf II. These drawings had a galvanising effect on Goltzius whose style was influenced by them. Goltzius made engravings of
962-527: The only fact that connects the two painters is that they were both born in Dinant, Wallonia, Belgium. He probably visited Ferrara, Italy as an Italian source mentions it. His work was popular in Italy, where he was known as 'il Civetta' because of the little owl that often appears in his paintings, usually in a hollow tree or in a cavity between some rocks. The 17th-century biographer Karel van Mander regarded this motif as his signature. The name Herri met de Bles translates literally from Dutch as Herri with
999-440: The painter Jan Martszen de Jonge ), Jacob Martsen (genre painter), Jacob van Musscher , Hendrik Gerritsz Pot and François Venant . Van Mander was further influential on art writing in the seventeenth and eighteenth centuries. Cornelis de Bie ( Gulden Cabinet , 1662), Joachim von Sandrart ( Teutsche Akademie , 1675), Filippo Baldinucci ( Notizie de' Professori , 1681), and Arnold Houbraken ( Schouburg , 1720) are some of
1036-536: The painters one by one in several chapters. In van Mander's book many entries on Italian painters were simply translated or adapted from the Italian Vite , but the biographical details on early Netherlandish painters and, in particular the Haarlem painters, are unique and gathered during van Mander's commission. Karel van Mander's book also contains an interpretation of the stories in Ovid 's Metamorphoses . This
1073-523: The plague and other reasons. In Bruges, he worked with the painter Paul Weyts. Because of the threat of religious troubles and the plague, Karel fled with his family and his mother-in-law by ship to the Dutch Republic where he settled in Haarlem in the province of Holland in 1583. Here he worked for 20 years on a commission by the Haarlem city fathers to inventory "their" art collection. The city of Haarlem had confiscated all Catholic religious art after
1110-452: The reference is unclear. In Rome he may also have come into contact with fellow Flemish painter Bartholomeus Spranger , who left Rome in 1575 for Vienna to enter into the service of the emperor. On his return journey he passed through Vienna, where, together with Spranger and the sculptor Hans Mont , he made the triumphal arch for the royal entry of the emperor Rudolf II . Van Mander settled back in his native Meulebeke in 1578 where he
1147-457: The writing of religious plays for which he also painted the scenery. He built quite a reputation in Flanders with his theatre productions. In 1573 he travelled to Rome in the company of some young nobles. He stayed in Rome for more than three years. There he was active as a painter and became acquainted with patronage. For the Italian count Michelangelo Spada he made some frescoes with scenes of
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1184-475: Was a Flemish Northern Renaissance and Mannerist landscape painter, native of Bouvignes or Dinant (both in present-day Belgium). He contributed, along with Joachim Patinir and Lucas Gassel , to a distinct style of Northern Renaissance landscape painting basically originating from Gerard David's works and combining small history or religious scenes into compositions defined by perspective and atmospheric effects. They all painted landscapes seen from
1221-513: Was active as a painter and writer. He married an 18-year-old local girl, with whom he had a son. In 1580 he left for Kortrijk due to religious troubles caused by Catholic zealots in Meulebeke. Karel van Mander had at some point become a Mennonite and was therefore a possible target of these zealots. In Kortrijk he got a commission for an altar piece. In Kortrijk another son was born. He left Kortrijk for Bruges in 1582 because of an outbreak of
1258-614: Was born into a noble family in Meulebeke , in the County of Flanders . He studied under Lucas de Heere in Ghent . De Heere was a versatile artist who was painter, watercolorist, print artist, biographer, playwright, poet and writer. During the period 1568-1569 van Mander studied with the painter Pieter Vlerick in Kortrijk . The next five years he was less occupied with painting than with
1295-566: Was meant as an aid to artists who wished to paint mythological themes rather than religious ones. Symbolism was very important in painting at the time, and the use of Ovid's characters, combined with the proper use of artistic symbolism allowed the artist to tell a specific story. The last chapter of the Schilder-Boeck describes the meaning of animals and other figures. Van Mander was the master of Frans Hals . Frans Hals appears not to have shared van Mander's view that history painting
1332-471: Was published in 1604. He died soon after it was published in Amsterdam at the age of 58. Karel van Mander was the founder, together with Hubertus Goltzius and Cornelis van Haarlem , of an "academy to study after life". It is not entirely clear what this academy did but it is believed it was an informal discussion group which may have organised drawing classes with life models. It has also been claimed that
1369-456: Was the highest in the hierarchy of genres since Frans Hals produced almost solely portrait paintings. The Schilder-Boeck introduced Dutch artists to Italian art and encouraged them to travel, if not follow the book's instructions on Italian painting methods. Aside from his son Karel van Mander the Younger and Frans Hals, his registered pupils were Cornelis Engelsz , Everard Crynsz van der Maes , Jacobus Martens (landscape painter and father of
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