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Joos de Momper the Younger or Joost de Momper the Younger[2] (1564 – February 5, 1635)[1] was a Flemish landscape painter active in Antwerp between the late 16th century and the early 17th century. Brueghel's influence is clearly evident in many of de Momper's paintings. His work is situated at the transition from late 16th-century Mannerism to the greater realism in landscape painting that developed in the early 17th century. He achieved considerable success during his lifetime.[3]

Joos de Momper the Younger
Joos de Momper by Anthony van Dyck, 1632-1641
Born1564
Antwerp, Duchy of Brabant, Habsburg Netherlands
DiedFebruary 1635 (aged 70–71)[1]
Antwerp, Duchy of Brabant, Spanish Netherlands
Known forPainting
MovementBaroque

Life


Landscape with the Fall of Icarus, 1579 - 1635, Nationalmuseum, Stockholm
Landscape with the Fall of Icarus, 1579 - 1635, Nationalmuseum, Stockholm

Joos de Momper was born in an artistic family of Antwerp and was named after his grandfather who was a landscape painter.[4] His father was Bartholomeus de Momper the Elder and his mother Suzanna Halfroose. He learned to paint from his father who was a painter, art dealer, printer and publisher.[5][6]

In 1581 he became a master in the Antwerp Guild of St. Luke at only 17 years old.[4] It was assumed that in the 1580s he travelled to Italy to study.[6] Evidence for this trip was provided when landscape frescoes in the church of San Vitale in Rome, formerly attributed to Paul Bril, were given to Joos de Momper the Younger.[7]

On 4 September 1590 he married Elisabeth Gobijn. The couple had 10 children of whom Philippe de Momper became a painter.[5] The painter Gaspard de Momper was either his son or a nephew.[8] His pupils were Louis de Caullery and his son Philippe de Momper.[4] His followers included his nephew Frans de Momper and Hercules Seghers.[4]

De Momper enjoyed high-level patronage as is shown by the fact that Archduchess Isabella Clara Eugenia, the governess of the Southern Netherlands, sent in 1616 a letter to the Antwerp magistrate asking him to excuse de Momper from the payment of taxes and fees. The artist could use the tax exemption as in his later years he was not able to paint as diligently as before and he was spending to much money at the inn.[5]

De Momper died in Antwerp on 5 February 1635.[4] He left large debts and his possessions were sold off by his creditors.[5]

He was mentioned by Karel van Mander in his Schilder-boeck and his likeness was engraved by Anthony van Dyck.[9]


Work


Grotto Landscape with a Hermitage, c. 1630, together with Jan Brueghel the Younger, Private collection
Grotto Landscape with a Hermitage, c. 1630, together with Jan Brueghel the Younger, Private collection

De Momper primarily painted landscapes, the genre for which he was highly regarded during his lifetime. Only a small number of the 500 paintings attributed to de Momper are signed and just one is dated. The large output points to substantial workshop participation. He often collaborated with figure painters such as Frans Francken II, Peter Snayers, Jan Brueghel the Elder and Jan Brueghel the Younger, usually on large, mountainous landscapes, whereby the other painters painted the staffage and de Momper the landscape. His works were often featured in the prestigious gallery paintings of collections (real and imagined) from the early seventeenth century.[6]

He painted both fantasy landscapes, viewed from a high vantage point and employing a conventional Mannerist color transition of brown in the foreground to green and finally blue in the background, and more realistic landscapes with a lower viewpoint and more natural colors. His wide panoramas also feature groups of small figures.[10]

De Momper’s works are chiefly inspired by the steep craggy Alpine slopes and high rock masses depicted in Pieter Brueghel the Elder's work. His closeness to Jan Brueghel the Elder would have played a role in his exposure to the Bruegel idiom. This is also seen in some of the motifs of De Momper's work which go back to Pieter Bruegel’s inventions, such as winter landscapes and grain harvests. One of his works representing a Storm at Sea was previously attributed to Pieter Brueghel but is now generally ascribed to de Momper.

Another influence on De Momper was that of landscape specialist Lodewijk Toeput, who went on to make a career in Italy. De Momper emphasized stylization over naturalistic effects and used depth and atmosphere to achieve his goal of spatial construction.[6]

De Momper's work, like that of the contemporary landscape painter Abel Grimmer, has often been dismissed for its formulaic repetition of stock motifs and presentation while his large works have been interpreted as merely a ‘‘broad-brush’’ version of Joachim Patinir’s world landscape a century after its first formulation. He is regarded as representing the end of a tradition rather than a revitalization or an innovation of landscape painting as was happening in the Dutch Republic in the 17th century. On the other hand, the large size of his works and his collaboration with other leading artists suggest costliness and esteem for pictorial refinement.[6]


Notable works





See also



References


  1. "Joos II de Momper". Oxford University Press. Retrieved 25 September 2020.
  2. Alternative spellings of first name: Jodocus, Joes, Joeys and Josse
  3. de Momper at Oxford Artist Index
  4. Joos de Momper at the Netherlands Institute for Art History
  5. Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen, 1883, p. 309-316 (in Dutch)
  6. Larry Silver, Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market, University of Pennsylvania Press, 2012, p.193-195
  7. Joos de Momper at Sphinx Fine Art
  8. Gaspard de Momper at the Netherlands Institute for Art History
  9. Joos de Momper Biography in: Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 1718 (in Dutch)
  10. Irene Haberland, "Momper, de" Grove Art Online. Oxford University Press, [accessed 8 July 2007].



На других языках

[de] Joos de Momper

Joos de Momper der Jüngere (* 1564 in Antwerpen; † 5. Februar 1635 ebenda) war einer der bedeutendsten flämischen Landschaftsmaler. Seine Landschaftsdarstellungen zeigen den Übergang von der Weltlandschaft der Manieristen zur naturalistischen holländischen Landschaftsmalerei des 17. Jahrhunderts auf. Er arbeitete oft mit den Malern Jan Brueghel dem Älteren und Jan Brueghel dem Jüngeren zusammen.
- [en] Joos de Momper

[es] Joos de Momper

Joos de Momper el Joven (Amberes, 1564-5 de febrero de 1635), también conocido como Josse de Momper, fue uno de los más importantes paisajistas flamencos entre Pieter Brueghel el Viejo y Pedro Pablo Rubens. La influencia de Brueghel es evidente en muchos cuadros de Momper. Su nombre también se escribe como Joost, Joes o Jodocus.

[fr] Joos de Momper

Joos[1] de Momper le Jeune, ou Joos II de Momper, ou encore Jodocus de Momper, né en 1564 à Anvers, où il meurt le 5 février 1635, est un artiste-peintre flamand de paysages.

[it] Joos de Momper il Giovane

Joos de Momper il Giovane (Anversa, 1564 – Anversa, 1635) è stato un pittore fiammingo.

[ru] Момпер, Йоос де

Йоос де Момпер (нидерл. Joos de Momper; 1564 (1564), Антверпен — 1635, Антверпен) — фламандский художник-пейзажист, представитель позднего маньеризма.


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