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This study examines the contribution of the French artist Jacques le Moyne de Morgues to the development of seventeenth-century Netherlandish flower stilllifes, a heretofore understudied subject. Le Moyne has mostly been discussed as a cartographer and as the official artist for the French expedition to Florida from 1564 to 1565, and his impact on the origin of seventeenth-century Netherlandish flower still lifes has been largely overlooked because he was from abroad and active in England.
Le Moyne was a botanical artist who gained his early training in the French manuscript tradition and continued to develop his career as flower painter in a world fascinated with collecting rare and exotic plants. Le Moyne’s experiences of collecting and recording plants during the Florida exploration encouraged him to portray botanical specimens as living plants after his return to France. Soon after, his accurately and delicately illustrated floral images were known to seventeenth-century Netherlandish flower artists, including the printmaker Crispijn de Passe the Elder and the painter Jacques de Gheyn.
At the core of this study is the conclusion that the collaboration between botanists, artists and publishers was a crucial component in the development of independent flower paintings. Botanists and publishers were at the center of a network of flower collectors, gardeners and artists, focusing on collecting and exchanging rare and exotic plants as well as illustrations of them. In particular, the renowned botanist Carolus Clusius and the publisher Hans Woutneel were important links between Le Moyne and seventeenth-century Netherlandish flower artists, involving a young generation of flower painters with projects that incorporated floral illustrations.
In circulating botanical illustrations, Clusius and Woutneel supplied precisely colored drawings by Le Moyne to early Netherlandish flower artists, including Jacques de Gheyn and Crispijn de Passe the Elder, encouraging them to expand on Le Moyne’s approach in their own floral images. Clusius engaged Jacques de Gheyn to illustrate flowers and small creatures in the Lugt album containing twenty-two watercolors (1600-1604), and Woutneel encouraged De Passe to base many of the images in his Congnoscite Lilia (c. 1604) on Le Moyne’s delicately rendered watercolors.
Le Moyne was a botanical artist who gained his early training in the French manuscript tradition and continued to develop his career as flower painter in a world fascinated with collecting rare and exotic plants. Le Moyne’s experiences of collecting and recording plants during the Florida exploration encouraged him to portray botanical specimens as living plants after his return to France. Soon after, his accurately and delicately illustrated floral images were known to seventeenth-century Netherlandish flower artists, including the printmaker Crispijn de Passe the Elder and the painter Jacques de Gheyn.
At the core of this study is the conclusion that the collaboration between botanists, artists and publishers was a crucial component in the development of independent flower paintings. Botanists and publishers were at the center of a network of flower collectors, gardeners and artists, focusing on collecting and exchanging rare and exotic plants as well as illustrations of them. In particular, the renowned botanist Carolus Clusius and the publisher Hans Woutneel were important links between Le Moyne and seventeenth-century Netherlandish flower artists, involving a young generation of flower painters with projects that incorporated floral illustrations.
In circulating botanical illustrations, Clusius and Woutneel supplied precisely colored drawings by Le Moyne to early Netherlandish flower artists, including Jacques de Gheyn and Crispijn de Passe the Elder, encouraging them to expand on Le Moyne’s approach in their own floral images. Clusius engaged Jacques de Gheyn to illustrate flowers and small creatures in the Lugt album containing twenty-two watercolors (1600-1604), and Woutneel encouraged De Passe to base many of the images in his Congnoscite Lilia (c. 1604) on Le Moyne’s delicately rendered watercolors.
목차
Ⅰ. 머리말
Ⅱ. 꽃그림화가 르 모웬
Ⅲ. 식물학자 케롤루스 클루시우스
Ⅳ. 17세기 초 네덜란드의 꽃그림화가들
Ⅴ. 맺음말
부록 1. 르 모웬의 꽃그림집들
참고문헌
Abstract
참고문헌 (31)
참고문헌 신청
1. [학술지(정기간행물)] - Bergstr m,Ingvar / 1955 / Disguised Symbolism in ‘Madonna Pictures’ ö and Still-life / The Burlington Magazine 97 : 303 ~ 349
2. [단행본] - Bol,Laurens J / 1969 / Holländische Maler des 17. Jahrhunderts nahe den Grossen Meistern: Landschaften and Stilleben / Klinkhardt & Biermann
3. [단행본] - Boon,Karel G / 1978 / Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, 2 vols / Government K. Publishing Office
4. [단행본] - Brenninkmeyer-de Rooij,Beatrijs / 1996 / Roots of Seventeenth-Century Flower Painting: Miniatures Plants Books Painting / Primavera Pers
5. [단행본] - Christie’s / 1992 / The Hans van Leeuwen Collection: 16th and 17th Century Dutch and Flemish Master Drawings / Christie’s
2. [단행본] - Bol,Laurens J / 1969 / Holländische Maler des 17. Jahrhunderts nahe den Grossen Meistern: Landschaften and Stilleben / Klinkhardt & Biermann
3. [단행본] - Boon,Karel G / 1978 / Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, 2 vols / Government K. Publishing Office
4. [단행본] - Brenninkmeyer-de Rooij,Beatrijs / 1996 / Roots of Seventeenth-Century Flower Painting: Miniatures Plants Books Painting / Primavera Pers
5. [단행본] - Christie’s / 1992 / The Hans van Leeuwen Collection: 16th and 17th Century Dutch and Flemish Master Drawings / Christie’s
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