Publication: Peter van Lint, un caso problemático en la pintura flamenca del siglo XVII
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2019-01-22
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Universidad Complutense de Madrid
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Abstract
El objetivo del presente trabajo es la elaboración de una monografía sobre la figura del pintor de Amberes Peter van Lint 1609-1690 y su obra, conocido hasta ahora de forma parcial y fragmentaria. Sin embargo, uno de los aspectos más destacados y estudiados es la abundante presencia de su obra en España actualmente.La metodología seguida se basa en la realización de un catálogo razonado que reúna toda la obra (pintura, dibujo, grabado y composiciones para tapices) conocida y publicada, a la cual incorporamos aquí algunas nuevas atribuciones a la mano de van Lint. En primer lugar, hemos reunido 57 obras firmadas y fechadas con el propósito de reflexionar sobre la evolución de su estilo; 155 pinturas atribuidas y firmadas catalogadas según el asunto; 30 dibujos; 13 grabados y 5 composiciones para tapices. Además, se añaden 25 pinturas atribuidas a su taller, 4 clasificadas como copias de obras de van Lint, y 22 piezas rechazadas, que nos ayudan a completar el panorama de la obra de este maestro.En segundo lugar, todos los asuntos recogidos en este catálogo se estudian en relación con aquellos recogidos en los dos protocolos testamentarios de 1680 y 1690. Se dedica especial atención al primero, un inventario de los bienes de la propia casa de van Lint, que distingue diversas categorías de pinturas como principael o copije así como otras especificaciones técnicas importantes. El segundo protocolo, un libro de venta, recoge el precio y el nombre de los herederos y compradores, además del asunto...
The objective of this present work is to produce a monograph on the painter from Antwerp Peter van Lint (1609-1690) and his oeuvre, known up to now only partially and fragmentarily. Nevertheless, one of the most remarkable and studied aspects is the abundant presence of his work in Spain nowadays.The methodology of this thesis is based on the making of a catalogue raisoneé, which has brought together all the known and published paintings, drawings, engravings and compositions for tapestries, to which we have added here some newly attributed pieces to van Lint’s hand. First of all, we have gathered 57 signed and dated pieces for the purpose of analyzing his style evolution; 155 attributed and signed paintings organized by subjects; 30 drawings; 13 engravings, and 5 compositions for tapestries. Moreover, the addition of 25 paintings ascribed to the workshop, 4 labeled as copies from van Lint’s, and 22 rejected pieces, help complete a comprehensive panoramic view of the master’s oeuvre. Secondly, all the subjects collected in the whole catalogue are thoroughly studied in relation with those registered in two testamentary protocols from 1680 and 1690. Special attention is dedicated to the first protocol, an inventory of the assets kept in van Lint’s own house, and which differentiates painting categories such as principael or copije as well as other important technical specifications. The second one, a sales book, in addition to the subject compiles the price and buyers and heirs’ names...
The objective of this present work is to produce a monograph on the painter from Antwerp Peter van Lint (1609-1690) and his oeuvre, known up to now only partially and fragmentarily. Nevertheless, one of the most remarkable and studied aspects is the abundant presence of his work in Spain nowadays.The methodology of this thesis is based on the making of a catalogue raisoneé, which has brought together all the known and published paintings, drawings, engravings and compositions for tapestries, to which we have added here some newly attributed pieces to van Lint’s hand. First of all, we have gathered 57 signed and dated pieces for the purpose of analyzing his style evolution; 155 attributed and signed paintings organized by subjects; 30 drawings; 13 engravings, and 5 compositions for tapestries. Moreover, the addition of 25 paintings ascribed to the workshop, 4 labeled as copies from van Lint’s, and 22 rejected pieces, help complete a comprehensive panoramic view of the master’s oeuvre. Secondly, all the subjects collected in the whole catalogue are thoroughly studied in relation with those registered in two testamentary protocols from 1680 and 1690. Special attention is dedicated to the first protocol, an inventory of the assets kept in van Lint’s own house, and which differentiates painting categories such as principael or copije as well as other important technical specifications. The second one, a sales book, in addition to the subject compiles the price and buyers and heirs’ names...
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 05-09-2018