Category: baroque

Pieter van Lint – St. Mary Magdalene – 1634

Pieter van Lint – St. Mary Magdalene – 1634

Saint Mary Magdalene, sometimes called simply the Magdalene, was a Jewish woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion, burial, and resurrection. She is mentioned by name at least twelve times in the canonical gospels, more than most of the apostles. Mary’s epithet Magdalene most likely means that she came from the town of Magdala, a fishing town on the western shore of the Sea of Galilee.

The Gospel of Luke 8:2-3 lists Mary as one of the women who traveled with Jesus and helped support his ministry “out of their resources”, indicating that she was probably relatively wealthy. The same passage also states that seven demons had been driven out of her, a statement which is repeated in the longer ending of Mark. In all four canonical gospels, she is a witness to the crucifixion of Jesus and, in the Synoptic Gospels, she is also present at his burial. All four gospels identify her, either alone or as a member of a larger group of women, as the first witness to the empty tomb, and the first to testify to Jesus’s resurrection. For these reasons, she is known in many Christian traditions as the “apostle to the apostles”. Mary is a central figure in later apocryphal Gnostic Christian writings, including the Dialogue of the Savior, the Pistis Sophia, the Gospel of Thomas, the Gospel of Philip, and the Gospel of Mary, none of which are considered historically reliable. These texts portray her as Jesus’s closest disciple and the only one who truly understood his teachings. In the Gnostic gospels, Mary Magdalene’s closeness to Jesus results in tension with the other disciples, particularly Simon Peter.

During the Middle Ages, Mary Magdalene was conflated in western tradition with Mary of Bethany and the unnamed “sinful woman” who anoints Jesus’s feet in Luke 7:36-50, resulting in a widespread but inaccurate belief that she was a repentant prostitute or promiscuous woman. Elaborate medieval legends from western Europe tell exaggerated tales of Mary Magdalene’s wealth and beauty, as well as her alleged journey to southern France. The identification of Mary Magdalene with Mary of Bethany and the unnamed “sinful woman” was a major controversy in the years leading up to the Reformation and some Protestant leaders rejected it. During the Counter-Reformation, the Catholic Church used Mary Magdalene as a symbol of penance.

In 1969, the identification of Mary Magdalene with Mary of Bethany and the “sinful woman” was removed from the General Roman Calendar, but the view of her as a former prostitute has persisted in popular culture. Mary Magdalene is considered to be a saint by the Catholic, Eastern Orthodox, Anglican, and Lutheran churches—with a feast day of July 22. Other Protestant churches honor her as a heroine of the faith. The Eastern Orthodox churches also commemorate her on the Sunday of the Myrrhbearers, the Orthodox equivalent of one of the Western Three Marys traditions. Speculations that Mary Magdalene was Jesus’s wife or that she had a sexual relationship with him are regarded by most historians as highly dubious.

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

Pieter van Lint – Our Lady with Child and peni…

Pieter van Lint – Our Lady with Child and penitents – 

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

Pieter van Lint – Adoration of the Magi – 1630

Pieter van Lint – Adoration of the Magi – 1630

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

Pieter van Lint – An Allegory with Labour bein…

Pieter van Lint – An Allegory with Labour being rewarded by Abundance and Peace, witnessed by Minerva and Time – 

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

Pieter van Lint – Portrait of a Child – 

Pieter van Lint – Portrait of a Child – 

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

His earliest works follow his master Wolffort’s style, which was itself indebted to the academic manner of Otto van Veen. During his stay in Rome he made many studies after the antique and developed an interest in classicism, which remained a constant characteristic of his style. At the same time, he tried his hand at the Bamboccianti genre style of painting.

Many of his later works were religious paintings, such as the Marriage of the Virgin (1640) in Antwerp Cathedral, which were in the classicizing style of Wollfort and his Roman examples. Besides larger paintings, he made small-scale devotional paintings, which found a large market in Spain and the Spanish colonies in America. He often completed assignments for leading Antwerp art dealers such as Matthijs Musson and Guillam Forchondt.

In response to the contemporary demand for copies of Rubens’ oil sketches, van Lint produced a large number of copies of Rubens’ work. Pieter van Lint was together with Abraham Willemsens and Willem van Herp one of the principal producers of such copies for the Antwerp art dealers.

An album with travel sketches, including two sketches which are signed ‘P.V.L.’ in the collection of the Martin von Wagner Museum in Würzburg, which were formerly attributed to Pieter van Laer (the central figure of the Bamboccianti) has now been re-attributed to Pieter van Lint. The album contains sketches, which the artist made of scenes, including of his fellow travelers, during his travels in Italy around 1636. The drawings give a lively idea of the conditions and the manner in which travelers undertook their travels at the time.

Pieter van Lint was also active as a designer of tapestries. Correspondence between the Antwerp trader Hendrik Lenaerts and the Brussels weavers Jan van Leefdael and Gerard van der Strecken dated 1660 shows that van Lint had designed 8 cartoons for a Story of Domitian. A tapestry series dated 1639 on the Story of the Virgin Mary still preserved in the Pottery convent in Bruges is believed to have been made after models by Pieter van Lint.

Pieter van Lint – Self-portrait –

Pieter van Lint – Self-portrait

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

He was born in Antwerp where he trained under Artus Wolffort. During his training he frequently visited Antwerp’s churches to copy the paintings of his contemporaries such as Peter Paul Rubens as well as those of earlier generations such as Marten de Vos and the Francken brothers.

Van Lint become a master in the Guild of Saint Luke in 1633. In that same year he traveled to Rome where he remained until 1640. In Rome he worked for Cardinal Domenico Ginnasi, Bishop of Ostia, who employed him to decorate the local cathedral. Van Lint also frescoed the Cybo family chapel in the Santa Maria del Popolo with the Legend of the True Cross in 1636-40. In addition to religious commissions, the artist painted numerous small genre scenes in the style of the Bamboccianti. He spent time in Paris from 1640 to 1641 where he possibly was in contact with Poussin.

The year after his return to Antwerp in 1642 he married Elisabeth Willemyns. The couple had seven children. When he became widowed in 1679, the artist remarried the following year to Anna Moeren (Moren or Morren).

His pupils included Caerel de las Cuevas, Jan-Baptista Ferrari and Godfried Maes. His son Hendrik Frans van Lint from his second marriage was a celebrated landscape painter in Rome.

He died in Antwerp.

history-of-fashion:ab. 1660-1665 Pieter van Li…

history-of-fashion:

ab. 1660-1665 Pieter van Lint – Portrait of a Man

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

coriesu:Christ and the Adulterous Womanby Piet…

coriesu:

Christ and the Adulterous Woman
by Pieter van Lint

First half of 17th century

The title of the story is taken from John 8:3-11 – The Adulterous Woman, in which a mob brings an adulteress before Jesus for judgment, the usual punishment for adultery being death by stoning. Jesus decrees that the first stone be thrown by one who is free from sin; until eventually no one remains. This story from the bible parallels Camus’ thinking on Capital Punishment as outlined in Reflections on the Guillotine. Namely, that no authority exists which is capable of passing judgment on another human being because no person possesses absolute innocence.

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

lionofchaeronea:St. Joseph Carrying the Child …

lionofchaeronea:

St. Joseph Carrying the Child Jesus on the Left Arm, Pieter van Lint (1609-1690)

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

acrosscenturiesandgenerations: ▪Venus and Cupi…

acrosscenturiesandgenerations:

▪Venus and Cupid (after Raphael).
Artist/Maker: Pieter van Lint (Flemish, 1609 – 1690)
Culture: Flemish
Date: 1636
Medium: Black and red chalk and brown wash

By the sweet wound of thy piercing darts, … revenge the injury which is done to thy mother, by the false and disobedient beauty of a mortal maiden … that she may fall in love with the most miserable creature living, the most poor, the most crooked, and the most vile …

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.