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39-708: Scaglia can refer to; People [ edit ] Cesare Alessandro Scaglia , abbot at the Staffarda Abbey Franco Scaglia , Italian writer Girolamo Scaglia , Italian painter Luigi Scaglia , Italian football player Lucas Scaglia , Argentine football manager and former player Massimiliano Scaglia , Italian football player Patrick Scaglia , American businessman Renata Scaglia , Italian discus thrower Silvio Scaglia , Italian entrepreneur Other [ edit ] Scaglia (mammal) , an extinct mammal genus Topics referred to by

78-539: A bird's eye view over the battlefield. He further painted large landscapes and portraits of the aristocracy. He was a regular collaborator of local landscape painters and also Rubens. After starting his career in Antwerp, he moved to Brussels where he worked for the court. He was the principal military iconographer of the court in Brussels and the appointed court painter with the rank of lieutenant-colonel. Snayers

117-475: A city street and canal covered in snow. The scene is animated by many characters going about their daily activities, children enjoying the joys of winter and merchants busy at their stalls. Rather than a topographical view, the painting provides an entertaining testimony of life in a 17th-century city in Flanders. The city depicted is possibly Antwerp. Snayers' collaborations with Peter Paul Rubens included

156-744: A close attention to topographic accuracy. Frequently, these show a shallow foreground that recedes sharply to show a besieged town from a bird's-eye perspective . Snayers paid particular attention to rendering the battle scenes as accurately, completely and true-to-life as possible. He was not present at any of the battles which he depicted. To arrive at his realistic and accurate composition Snayers relied on official military maps, reliable war reports and artistic inventions by other artists. His artistic sources included prints by Georg Braun , Frans Hogenberg , Jacques Callot and works by Peter Paul Rubens. Snayers generally did not include in his compositions any explanatory signs, symbols or legends that would help

195-589: A diplomat in France, but after the Treaty of Monzón undermined preexisting agreements between France and Savoy, he became increasingly antagonistic towards Cardinal Richelieu and any alignment of the two nations. During the rest of his career, he worked to improve relations with England and Spain, often mediating between England and Spain to combat French influence in Savoy that he saw as unacceptable. Alessandro Scaglia

234-439: A dual role: they documented the historical event and at the same time they glorified the military men who participated in the action. The compositions were painted from the point of the patron who commissioned them. Equestrian portraits of the patrons and their coats of arms were included so that their military feats were immortalized. The compositions thus justified the patrons' eminent status in society as well as their loyalty to

273-529: A few contacts there. He also possessed unusual favor with King Charles I of England. In his diplomatic correspondence, Scaglia is known to have made use of multiple numerical ciphers , a common practice in diplomacy and espionage at the time. After being recalled to Savoy, Scaglia left London, but decided to remain in Brussels, in the Spanish Netherlands, disobeying the summons. At this point nearly all direct communication between Scaglia and

312-524: A few religious compositions. Finally, he completed a few compositions showing public processions of the guilds and civil militia . Stylistically, his coloring was more subdued than that of his teacher Vrancx and reflects contemporary trends in Flemish and Dutch painting. Peter Snayers created large-scale historical battle scenes as well as smaller works depicting cavalry skirmishes and scenes of soldiers at rest. His historical battle scenes demonstrate

351-426: A leading battle painter and court painter to Louis XIV of France . There is no record of when Snayers died but it is believed he died in Brussels in 1667. Peter Snayers is mainly known as a painter of battles, military engagements, raids on villages and attacks on, or robberies of, convoys. He painted portraits of the aristocracy in Brussels and large landscapes. In addition, he created various hunting scenes and

390-548: A present of pictures which Scaglia sent him. The ambassador no longer frequents the Court, and indeed there is so much bad blood that it will be hard for it to resume its former channel. Contarini's reference to "a present of pictures" also underlines the way in which Scaglia and others at the time used art and gifts towards diplomatic ends. Scaglia's influence in England waned after Buckingham's murder in 1628, though he still had

429-410: A total of five van Dycks in his collection, which also contained works by Peter Snayers and Antonio Tempesta . Scaglia was prepared from a young age for clerical life, as a younger son not expected to inherit his father's title of Count di Verrua. At age 11, he was made the abbot of Staffarda Abbey. Following in the footsteps of his father, Count Gherardo, Scaglia entered the diplomatic service of

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468-459: A woman pleading with a robber who is pointing at her. As was common in 17th century artistic practice in Antwerp, Snayers often collaborated with other artists. He was a regular collaborator with landscape painters Joos de Momper , Jan Brueghel the Younger and Alexander Keirincx . He also collaborated with Rubens. In his collaborations with landscape painters, Snayers was responsible for

507-538: Is different from Wikidata All article disambiguation pages All disambiguation pages Cesare Alessandro Scaglia Cesare Alessandro Scaglia (often known as Alessandro Scaglia or Abate Scaglia) came from an influential family in the Duchy of Savoy , the Scaglia di Verrua, who had risen to prominence since the ducal capital had moved from Chambéry to Turin in 1562. Scaglia served as an ambassador for

546-520: Is in disgrace with the duke. They were going to arrest near his house the wife of one of his brothers, who is said to be mad, in order to have her declared an adulteress, so that the son may not inherit from him, as he has no male heirs. The police even entered the ambassador's house, and the crowd rendered the proceeding a spectacle. In order to rid himself of all parties by a carnival trick, he had his page disguised in female attire, and accompanied by others of his household, made him get into his coach, which

585-473: Is missing. The surviving pictures depicted the military feats of the King. The upper portion of the paintings showing prospects of battle scenes were completed by Peter Snayers. These scenes consist of many painstakingly detailed small figures. They contrast with Rubens' contribution in the lower part of the compositions, which consist of significantly larger figures, including King Henry IV on horseback, which fill

624-472: Is the Flemish landscape with travellers attacked by robbers (Koller Zürich auction of 23 March 2018, lot 3026). The picture narrates a scene of travellers in a stage coach attempting to ward off an attack of robbers. The scene is full of action and depicts various stages of the attack including the robbers on horse back exchanging fire with the victims, one man already down flat on the ground being robbed and

663-711: The House of Savoy in Rome , Paris and London , also collecting antiquities for the duchy. He was also in the service of Philip IV of Spain in London (acting on behalf of Spain up to 1636) and assisted Charles I of England in negotiating a commission on the subject of Cupid and Psyche from Jacob Jordaens for the Queen's House in Greenwich . However, his support of Spain led to tensions with Victor Amadeus I when he succeeded to

702-639: The Sodaliteit der Bejaarde Jongmans (Society of the Bachelors of Age), a fraternity for bachelors established in Antwerp by the Jesuit order. This Society's membership consisted principally of citizens from the elite and wealthy middle classes including artists and merchants. Through his membership of the Society, Peter was able to access an important network of contacts which would help boost his career. He

741-582: The Duchy of Savoy in 1630, and soon afterwards Scaglia retired to Brussels and Antwerp , both in the Spanish Netherlands . Peter Paul Rubens (a diplomat himself) described Scaglia as "a man of the keenest intellect". Scaglia was an art collector and commissioned a portrait, a Virgin and Child (showing Scaglia himself praying to them ) and a Deposition (intended for his tomb) from Antony van Dyck whilst in Brussels and Antwerp. There were

780-463: The Duke of Savoy ceased. His time in Brussels has been described as a self-imposed exile, as his pro-Spanish sentiments made him unwelcome while Savoy was pursuing a pro-French policy. However, the location also positioned him to participate actively in international politics in an unofficial capacity. During this time, he continued to carry on correspondence with many influential diplomatic figures, and

819-451: The Duke of Savoy, Charles Emmanuel I . His first official mission as a diplomat was to Rome working under Cardinal Maurice of Savoy . Campaigns were undertaken in 1619 and 1627 to have Scaglia created a cardinal to strengthen Savoy's influence in the Papal court , but although the first attempt even had French support, neither succeeded. Scaglia spent a large portion of his career as

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858-570: The Habsburg court. The heroic images were also intended to serve as a model for later generations. As his works' distribution remained limited to the Spanish side, the decay of the Habsburg dynasty in the second half of the 17th century affected the artist's international reputation. Snayers often painted scenes of assaults by robbers on travelers and of soldiers plundering villages, a subject matter closely related to his military scenes. An example

897-589: The Queen of France as the second wife of King Henry IV of France, of the House of Bourbon. Following the assassination of her husband in 1610, she acted as regent for her son, King Louis XIII of France , until he came of age. The series on the life of the Queen was finished in 1625 and exhibited in the western gallery of the Luxembourg Palace. The series on the life of Henry IV was intended to be displayed in

936-804: The court) by the Archduke. Snayers likely moved to Brussels in order to pursue opportunities at the court of the Archduchess Isabella , the widow of the Archduke and the governess of the Southern Netherlands. After Isabella's death in 1633, Snayers became court painter to the next two governors, the Cardinal-Infante Ferdinand of Austria (1634–1641) and the Archduke Leopold (Wilhelm) (1647–1656). For them he painted scenes of victorious battles in

975-472: The eastern gallery of the Luxembourg Palace. Rubens worked on the Life of Henry IV from 1628 to 1630. Of the planned 24 pictures, 16 would depict the key battles in which the king himself had participated. Rubens had commenced work on six when the Queen lost her power in 1630 and was forced into exile in 1631. With the loss of his buyer, Rubens was forced to stop work. Five of the paintings have survived and one

1014-481: The family lived in luxury and Snayers participated annually in the lavish banquet of the chamber of rhetoric Violieren. Snayers joined the painters' guild in Brussels on 16 June 1628. He became a citizen of Brussels at the same time. It is believed he had been working for the Archduke Albert (died in 1621) while living in Antwerp. He had been appointed court painter and 'domesticq van 't Hof" (domestic of

1053-458: The figures and his collaborators for the landscapes and cityscapes. He collaborated with Joos de Momper principally between 1613 and 1620. The collaborations with Jan Brueghel the Younger date from after 1634. An example of a collaboration with Joos de Momper is the View of a city canal in winter with figures, presumably in Antwerp (at Artcurial, Paris, 19 June 2012, lot 14). The composition shows

1092-414: The foreground. The figures by Rubens are rather sketchy and some art historians believe that they are unfinished. The landscape specialist Lodewijk de Vadder was probably responsible for the large trees that appear in some of the canvases. Despite the contrast between the top half painted by Snayers and the bottom half painted by Rubens, the compositions offer a feeling of unity. The Torre de la Parada

1131-627: The government of Savoy may have considered him a potential means of realigning Savoy with Spain, should its French alliance have become untenable. In or after 1637, he entered the Recollects Convent in Antwerp, where he died in 1641. Peter Snayers Peter Snayers or Pieter Snayers (1592–1667) was a Flemish painter known for his panoramic battle scenes, depictions of cavalry skirmishes, attacks on villages, coaches and convoys and hunting scenes. He established his reputation mainly through his topographic battle scenes providing

1170-543: The never-finished Life of Henry IV cycle (1628–30) and the Torre de la Parada series ( c. 1637–1640). Both during his Antwerp and his Brussels periods, He mingled with the elite of his time. He climbed the social ladder and aspired to live a lifestyle similar to that of the aristocrats of his day. He was thus an example of the 17th century 'aristocratization' of successful citizens. His pupils included Guilliam van Schoor and Adam Frans van der Meulen . The latter became

1209-646: The never-finished cycle on the Life of Henry IV (1628–30) and the Torre de la Parada series ( c . 1637–1640). The Life of Henry series was commissioned from Rubens by Marie de' Medici in February 1622 together with a series of paintings about her own life. The two series were intended to decorate the Luxembourg Palace , her new dwellings in Paris that were then under construction. Marie de' Medici had been

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1248-465: The same term [REDACTED] This disambiguation page lists articles associated with the title Scaglia . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Scaglia&oldid=1183841918 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description

1287-497: The tradition of sixteenth-century tapestries . He painted portraits of the aristocracy in Brussels and large landscapes. He also worked for other eminent patrons and the open market. A highlight in his career was a commission for 22 battle paintings by general Ottavio Piccolomini . While working in Brussels he regularly visited his hometown Antwerp but never returned to live there. He collaborated with painters in Antwerp such as Peter Paul Rubens on several occasions, including on

1326-408: The viewer in identifying which battle was depicted. The absence of such explanatory elements preserved the realism of the picture but also required the viewer to have prior information to understand the subject. As most of his works were commissioned by the highest military leaders in the Habsburg (Spanish and Imperial) army they would have known the scenes depicted. His large canvases clearly played

1365-718: Was a hunting lodge of the Spanish king near Madrid . Rubens had received a commission from the Spanish king Philip IV of Spain to create a series of paintings to decorate the hunting lodge. A majority of the paintings depicted mythological scenes largely based on the Metamorphoses of Ovid . Rubens realized this important commission with the assistance of a large number of Antwerp painters such as Jacob Jordaens , Cornelis de Vos , Jan Cossiers , Thomas Willeboirts Bosschaert , Theodoor van Thulden , Jan Boeckhorst , Jan Baptist Borrekens , Peeter Symons , and Jacob Peter Gowy and others, who worked after Rubens' designs. Snayers

1404-618: Was a known friend and political ally of George Villiers , the Duke of Buckingham, and made use of this connection to influence English foreign policy. In particular, he encouraged English support of the French Huguenot rebels during the 1627-1628 siege of La Rochelle as a diversion tactic against France. A report from the Venetian ambassador in London, Alvise Contarini , documents an incident in which Scaglia temporarily fell out of favor with Buckingham: The ambassador of Savoy

1443-467: Was born in Antwerp , where he was baptized on 24 November 1592. His father Lodewijk was the city messenger of Antwerp for Brussels. His mother was Catharina Gijsberts. His oldest brother, also called Lodewijk, became a successful merchant with an extensive international network of contacts. Another brother called Eduard would become a master painter in 1617 and was also a merchant. In 1611 Peter joined

1482-408: Was completely closed, and away they went, the police and the whole crowd following for a space, thinking it contained the lady, who was making her escape. But when the passengers dismounted at a friendly house, into which the police followed, the trick played caused much amusement to the mob. The duke has taken great umbrage at this proceeding and refused the ambassador audience. He would not even accept

1521-461: Was enrolled as a pupil of Sebastiaen Vrancx in Antwerp's Guild of St. Luke in 1612. Sebastiaen Vrancx was a prominent battle and genre painter. In 1613, Snayers was registered as a master painter in the Guild. In 1618, Snayers married Anna Schut, a cousin of the painter Cornelis Schut . Their first child Cornelis was baptized on 8 September 1620. Snayers achieved success as an artist. In Antwerp,

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