Joachim Patinir, also called Patenier (c. 1480 – 5 October 1524), was a Flemish Renaissance painter of history and landscape subjects. He was Flemish, from the area of modern Wallonia,[1] but worked in Antwerp, then the centre of the art market in the Low Countries. Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter. He effectively invented the world landscape, a distinct style of panoramic northern Renaissance landscapes which is Patinir's important contribution to Western art.[2] His work marks an important stage in the development of the representation of perspective in landscape painting.[3]
Patinir was a friend of not only Dürer, but also of the leading Antwerp painter Quentin Metsys, with whom he often collaborated. The Temptation of St Anthony (Prado) was executed in collaboration with Metsys, who added the figures to Patinir's landscape. His career was nearly contemporary with that of Albrecht Altdorfer, the other major pioneer of paintings dominated by the landscape, who worked in a very different style. He may have been the uncle of Herri met de Bles, but there is not a single piece of contemporary evidence to support it. De Bles was probably only 14(?) when Patinir died, and his style was quite different, although both came from Dinant. The latter is the only fact connecting the two artists at the moment.
Originally from Dinant or Bouvignes in present-day Wallonia, Belgium, Patinir was registered as a member of Antwerp'sGuild of Saint Luke in 1515. He lived and worked in Antwerp for the rest of his life. He may have initially studied in Bruges with Gerard David, who registered as a member of the Antwerp Guild in the same year as Patinir.[2] In 1511, Patinir is believed to have travelled to Genoa with David and Adrien Ysenbrandt.
Patinir married first to Francisca Buyst, a daughter of the painter Edward Buyst of Dendermonde. After the death of his first wife he married Johanna Noyts, on 5 May 1521. Patinir's friend Albrecht Dürer attended his second wedding and painted his portrait. Dürer called Patinir "der gute Landschaftsmaler" ("the good landscape painter"), thus creating a new word for this type of painter. He had three daughters, two from the first marriage and one from the second. He operated a large workshop with assistants in Antwerp but he is not known to have registered any pupils with the Antwerp guild.[2]
There are only five paintings signed by Patinir, but many other works have been attributed to him or his workshop with varying degrees of probability. The ones that are signed read: (Opus) Joachim D. Patinier, the "D" in his signature signifying Dionantensis ("of Dinant"), reflecting his place of origin. A 2007 exhibition at the Museo del Prado in Madrid displayed 21 pictures listed as by Patinir or his workshop, and catalogued a further eight which were not in the exhibition.[4]
Patinir often let his landscapes dwarf his figures, which are of very variable quality. The larger ones were sometimes painted by other artists.[2] Such specialisation had become common in the Low Countries at the time. Many of his works are unusually large for Netherlandish panel paintings of the time.
Patinir's large vistas combine observation of naturalistic detail with lyrical fantasy. The steep outcrops of rocks in his landscapes are more spectacular versions of the group of very individual formations just around his native Dinant. These became a part of the world landscape formula, and are found in the works of many painters who never saw the originals. His landscapes use a high viewpoint with a high horizon, but his grasp of aerial perspective is far from complete. He uses a consistent and effective colour scheme in his landscapes, which was influential on later landscape painting. The foreground is dominated by brownish shades, while "the middle ground [is] a bluish green and the background a pale blue", creating an effective sense of recession into the distance; "When combined with the frequently hard-toned browns, greens and blues that alternate with significant areas of white, a sense of impending doom is created by the threatening clouds, the capricious and sharply pointed contours of the rocks and the crowding together of natural elements."[2]
Selected worksedit
The Temptation of Saint Anthony, collaboration with Matsys, c. 1515, oil on panel, 173× 155 cm, Prado, Madrid
Landscape with St Jerome, 1515–1519, oil on panel, 74 × 91 cm (29.1 × 35.8 in), Prado, Madrid
St Christopher Bearing the Christ Child, oil on panel, 48 × 59.5 cm (18.9 × 23.4 in), Rockoxhuis, Antwerp
St Jerome in the Desert, c. 1520, oil on panel, 78 × 137 cm (30.7 × 53.9 in), Louvre, Paris
The Penitence of Saint Jerome, c. 1512–15, triptych, oil on wood, 117.5 × 81.3 cm (46.5 × 31.9 in), each wing 120.7 × 35.6 cm (47.5 × 14 in), Metropolitan Museum of Art, New York
Landscape with the Destruction of Sodom and Gomorrah, c. 1520, oil on panel, 22.5 × 308 cm (8.9 × 11.8 in), Museum Boijmans Van Beuningen, Rotterdam
Landscape with Saint Christopher, c. 1520, oil on panel, 125 cm × 170 cm (49.2 × 66.9 in), El Escorial, Monasterio de San Lorenzo, Spain
The Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox, c. 1510–20, oil on panel, 62.28 × 58.7 cm (24.52 × 23.13 in), Philadelphia Museum of Art[5]
^(in French)Les rochers par lesquels l'art gothique suggère conventionnellement un site sauvage et désertique, sont présents. Comme d'aucuns l'ont remarqué, ces pics rocheux qui vont devenir chez Patinier, indissociables de l'évocation d'un paysage ressemblent à ceux qu'il a pu voir dans la région dinantaise [...] Mais il va de soi que les paysages représentés ne sont jamais dans leur ensemble la transposition de sites existants. L'espace tel que le conçoit Patinier est d'un autre ordre que celui qui s'offre au spectateur dans la réalité.From "L'essor du paysage" in Jacques Stiennon, Jean-Patrick Duchesne, Yves Randaxhe, Cinq siècles de peinture en Wallonie, Les éditeurs d'art associés, Brussels, 1988, pp. 67–72.The landscape of the Mosan valley was the inspiration for Patinir, but the result of this inspiration was not a painting of this landscape.
^ abcdefHans Devisscher. "Patinir, Joachim." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 30 April 2022. Subscription required
^Voigt, Verena, Joachim Patinir (ca. 1485–1524) and Landscape Painting in the Low Countries Hand (1986): 57
^Prado feature, exhibition "Patinir", 2007, Museo del Prado, Madrid, Spain.
^Atkins, Christopher D. M. "The Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox by Joachim Patinir (cat. 378)". The John G. Johnson Collection: A History and Selected Works. A Philadelphia Museum of Art free digital publication.
Sourcesedit
Koch, Robert A. Joachim Patinir (Princeton: Princeton University Press, 1968).
Battistini, Matilde. Symbols & Allegories in Art: The Hereafter. Los Angeles: The J. Paul Getty Museum, 2005. 210, 212–13.
Falkenburg, Reindert. Joachim Patinir: Landscape as an Image of the Pilgrimage of Life. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1988.
Ball-Krückmann, Babette, Landschaft zur Andacht: die Weltlandschaften Joachim Pateniers. Munich 1977 (microfiche)
Smith Chipps, Jeffery. The Northern Renaissance. Phaidon. Arts & Ideas, 2004. 321.
External linksedit
Media related to Joachim Patinir at Wikimedia Commons
joachim, patinir, also, called, patenier, 1480, october, 1524, flemish, renaissance, painter, history, landscape, subjects, flemish, from, area, modern, wallonia, worked, antwerp, then, centre, market, countries, patinir, pioneer, landscape, independent, genre. Joachim Patinir also called Patenier c 1480 5 October 1524 was a Flemish Renaissance painter of history and landscape subjects He was Flemish from the area of modern Wallonia 1 but worked in Antwerp then the centre of the art market in the Low Countries Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter He effectively invented the world landscape a distinct style of panoramic northern Renaissance landscapes which is Patinir s important contribution to Western art 2 His work marks an important stage in the development of the representation of perspective in landscape painting 3 Portrait of Joachim Patinir by Aegidius Sadeler after DurerPatinir was a friend of not only Durer but also of the leading Antwerp painter Quentin Metsys with whom he often collaborated The Temptation of St Anthony Prado was executed in collaboration with Metsys who added the figures to Patinir s landscape His career was nearly contemporary with that of Albrecht Altdorfer the other major pioneer of paintings dominated by the landscape who worked in a very different style He may have been the uncle of Herri met de Bles but there is not a single piece of contemporary evidence to support it De Bles was probably only 14 when Patinir died and his style was quite different although both came from Dinant The latter is the only fact connecting the two artists at the moment Contents 1 Life and work 2 Work 3 Selected works 4 See also 5 Notes 6 Sources 7 External linksLife and work edit nbsp Landscape with the Flight into Egypt oil on panel 17 21 cm Royal Museum of Fine Arts AntwerpOriginally from Dinant or Bouvignes in present day Wallonia Belgium Patinir was registered as a member of Antwerp s Guild of Saint Luke in 1515 He lived and worked in Antwerp for the rest of his life He may have initially studied in Bruges with Gerard David who registered as a member of the Antwerp Guild in the same year as Patinir 2 In 1511 Patinir is believed to have travelled to Genoa with David and Adrien Ysenbrandt nbsp The Baptism of Christ oil on oak 59 5 77 cm Kunsthistorisches Museum ViennaPatinir married first to Francisca Buyst a daughter of the painter Edward Buyst of Dendermonde After the death of his first wife he married Johanna Noyts on 5 May 1521 Patinir s friend Albrecht Durer attended his second wedding and painted his portrait Durer called Patinir der gute Landschaftsmaler the good landscape painter thus creating a new word for this type of painter He had three daughters two from the first marriage and one from the second He operated a large workshop with assistants in Antwerp but he is not known to have registered any pupils with the Antwerp guild 2 Patinir died in Antwerp in 1524 Quentin Metsys became the guardian of his daughters 2 Work editThere are only five paintings signed by Patinir but many other works have been attributed to him or his workshop with varying degrees of probability The ones that are signed read Opus Joachim D Patinier the D in his signature signifying Dionantensis of Dinant reflecting his place of origin A 2007 exhibition at the Museo del Prado in Madrid displayed 21 pictures listed as by Patinir or his workshop and catalogued a further eight which were not in the exhibition 4 nbsp Geological inspiration detail from Patinir s St Jerome National Gallery juxtaposed with photographs of the dramatic rock pinnacles of Dinant nbsp Innovative World landscape Landscape with Charon Crossing the Styx oil on panel 64 103cm Prado MadridPatinir often let his landscapes dwarf his figures which are of very variable quality The larger ones were sometimes painted by other artists 2 Such specialisation had become common in the Low Countries at the time Many of his works are unusually large for Netherlandish panel paintings of the time Patinir s large vistas combine observation of naturalistic detail with lyrical fantasy The steep outcrops of rocks in his landscapes are more spectacular versions of the group of very individual formations just around his native Dinant These became a part of the world landscape formula and are found in the works of many painters who never saw the originals His landscapes use a high viewpoint with a high horizon but his grasp of aerial perspective is far from complete He uses a consistent and effective colour scheme in his landscapes which was influential on later landscape painting The foreground is dominated by brownish shades while the middle ground is a bluish green and the background a pale blue creating an effective sense of recession into the distance When combined with the frequently hard toned browns greens and blues that alternate with significant areas of white a sense of impending doom is created by the threatening clouds the capricious and sharply pointed contours of the rocks and the crowding together of natural elements 2 Selected works edit nbsp The Temptation of Saint Anthony collaboration with Matsys c 1515 oil on panel 173 155 cm Prado Madrid nbsp Landscape with St Jerome 1515 1519 oil on panel 74 91 cm 29 1 35 8 in Prado Madrid nbsp Landscape with St John the Baptist Preaching oil on oak 36 5 45 cm 14 1 17 1 in Royal Museums of Fine Arts of Belgium nbsp Rest on the Flight into Egypt oil on panel 121 177 cm 47 6 69 7 in Museo del Prado Madrid nbsp St Christopher Bearing the Christ Child oil on panel 48 59 5 cm 18 9 23 4 in Rockoxhuis Antwerp nbsp St Jerome in the Desert c 1520 oil on panel 78 137 cm 30 7 53 9 in Louvre Paris nbsp The Penitence of Saint Jerome c 1512 15 triptych oil on wood 117 5 81 3 cm 46 5 31 9 in each wing 120 7 35 6 cm 47 5 14 in Metropolitan Museum of Art New York nbsp Rest on the Flight into Egypt 1515 1524 on wood 62 78 cm Gemaldegalerie Berlin nbsp Landscape with the Destruction of Sodom and Gomorrah c 1520 oil on panel 22 5 308 cm 8 9 11 8 in Museum Boijmans Van Beuningen Rotterdam nbsp Landscape with Saint Christopher c 1520 oil on panel 125 cm 170 cm 49 2 66 9 in El Escorial Monasterio de San Lorenzo Spain nbsp The Assumption of the Virgin with the Nativity the Resurrection the Adoration of the Magi the Ascension of Christ Saint Mark and an Angel and Saint Luke and an Ox c 1510 20 oil on panel 62 28 58 7 cm 24 52 23 13 in Philadelphia Museum of Art 5 See also editEarly Renaissance painting Renaissance in the Low CountriesFurther information World landscapeNotes edit in French Les rochers par lesquels l art gothique suggere conventionnellement un site sauvage et desertique sont presents Comme d aucuns l ont remarque ces pics rocheux qui vont devenir chez Patinier indissociables de l evocation d un paysage ressemblent a ceux qu il a pu voir dans la region dinantaise Mais il va de soi que les paysages representes ne sont jamais dans leur ensemble la transposition de sites existants L espace tel que le concoit Patinier est d un autre ordre que celui qui s offre au spectateur dans la realite From L essor du paysage in Jacques Stiennon Jean Patrick Duchesne Yves Randaxhe Cinq siecles de peinture en Wallonie Les editeurs d art associes Brussels 1988 pp 67 72 The landscape of the Mosan valley was the inspiration for Patinir but the result of this inspiration was not a painting of this landscape a b c d e f Hans Devisscher Patinir Joachim Grove Art Online Oxford Art Online Oxford University Press Web 30 April 2022 Subscription required Voigt Verena Joachim Patinir ca 1485 1524 and Landscape Painting in the Low Countries Hand 1986 57 Prado feature exhibition Patinir 2007 Museo del Prado Madrid Spain Atkins Christopher D M The Assumption of the Virgin with the Nativity the Resurrection the Adoration of the Magi the Ascension of Christ Saint Mark and an Angel and Saint Luke and an Ox by Joachim Patinir cat 378 The John G Johnson Collection A History and Selected Works A Philadelphia Museum of Art free digital publication Sources editKoch Robert A Joachim Patinir Princeton Princeton University Press 1968 Battistini Matilde Symbols amp Allegories in Art The Hereafter Los Angeles The J Paul Getty Museum 2005 210 212 13 Falkenburg Reindert Joachim Patinir Landscape as an Image of the Pilgrimage of Life Amsterdam Philadelphia John Benjamins Publishing Company 1988 Ball Kruckmann Babette Landschaft zur Andacht die Weltlandschaften Joachim Pateniers Munich 1977 microfiche Smith Chipps Jeffery The Northern Renaissance Phaidon Arts amp Ideas 2004 321 External links edit nbsp Media related to Joachim Patinir at Wikimedia Commons 15th century Flemish painters 16th century Flemish painters Retrieved from https en wikipedia org w index php title Joachim Patinir amp oldid 1164803918, wikipedia, wiki, book, books, library,
