Not all artists who worked in the 17th century painted boring, regular paintings and portraits to order. Even at that time, there were real innovators and provocateurs who tried to find something new in art and chose themes that were extremely far from the "sublime and beautiful." Their work irritated many, including such an influential person as the Pope, but they had the courage not to back down from their own. These are the artists who were part of the Bamboccianti creative association.
Jan van Bijlert. Concert
In the 17th century, Rome was the most important city for artists. All the more or less ambitious painters from all over the world went there to look at the paintings of the old masters, to learn from the greats, and simply to touch the "real art" with which Italian painting was closely associated. Our graduates from the Academy of Fine Arts, who were lucky enough to get a paid trip at government expense, also travelled to Rome, but it was mainly the Dutch and Flemish who went.Pieter van Laer. Self-portrait as an alchemist
It all started with the trip of Karel van Mander in 1604, who wrote the famous book Schilder-Böck or Treatise on Art. Mander knew what he was writing about: it took him three years to get to Rome, visiting the studios of every artist he met along the way. This book went through many reprints and became a kind of guide to action for all young Dutch artists: to see Rome, and not die, but grow into a real master. Many did not have money for a long and expensive trip, so they traveled by stagecoach or on foot, earning extra money with their craft along the way.
Michael Sverst. Wrestling match
Sometimes such a journey would stretch out for many years; some would settle in the cities they encountered and liked, while those less fortunate would die along the way at the hands of robbers or from some disease. But most would still reach the longed-for Rome, and upon returning, they would feel like true masters, having seen much and fully earned the right to be called artists. In some ways, such a trip was reminiscent of the Hajj to Mecca for Muslims: it would remain in one's soul for a lifetime, a difficult but soul-enriching trial, essential for creative development.
Joachim Sandrart. Allegory of November
All these artists who had visited Rome decided to unite, as they had much in common. This led to the formation of the "Society of Migratory Birds," which became a serious competitor to the official Society of St. Luke.
Jan Asselin. Swan defending its nest from a dog
To become a member of the society, one had to undergo initiation and baptism. The initiation was fairly standard and involved intellectual conversations about art with already accepted members of the society, but the baptism was legendary.
Initiation into the Migratory Bird Society
It was a day-long revelry during which the artists dressed in bedsheets like ancient togas, gave ceremonial speeches, and then drank wine at the expense of the new member of the society, giving them some indecent nickname. Later, the real fun would begin: the artists would stage a pagan procession in honor of Bacchus, partying so wildly that they shocked all the devout Christians around them.
Roeland van Laer. Baptism into the Migratory Bird Society
The members of this society were sure that painting pictures imitating Raphael in the academic style was boring and tedious. They were more attracted to the triumph of naturalism and the depiction of the most base subjects taken from life, for example, the search for nits.
Andris Bot. Flea Search
After all, this was the reality that surrounded them, so why not recreate it in their paintings? Later, they came to be called "minor Caravaggists," with a derogatory undertone to the nickname. But these artists were far from talentless. Many of their works were executed at a high artistic level, and the themes they explored were far more interesting than the endlessly repeated classical academic subjects.
Andris Bot. Scene in the Brothel
They continued creating until 1720, when Pope Urban VIII issued an order to dissolve the society. They had no choice but to comply. However, during the society’s existence, the artists managed to produce many fascinating paintings, which reflected the life of that era much more authentically than the conventional and widely promoted academicism of the time.
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