Jean Baptiste Vanmour: Difference between revisions
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In 1727 the Dutch ambassador [[Cornelis Calkoen]] asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Van Mour with him, such as when he was appointed as ambassador in [[Dresden]] for the [[Dutch Republic]]. |
In 1727 the Dutch ambassador [[Cornelis Calkoen]] asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Van Mour with him, such as when he was appointed as ambassador in [[Dresden]] for the [[Dutch Republic]]. |
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[[File:Zaal_HG-1.3_(Aduardkapel)_in_2013.jpg|thumb|Vanmour series on show in the Rijksmuseum]] |
[[File:Zaal_HG-1.3_(Aduardkapel)_in_2013.jpg|thumb|Vanmour series on show in the Rijksmuseum]] |
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In his will of 1762 the bachelor Calkoen directed his nephew and heir Nicolaas to keep the collection together, and it was his express wish that they were to hang in the room of [[Royal Palace of Amsterdam|Amsterdam City Hall]] reserved for directors of Eastern trade. Unbeknownst to him or his heir, soon the city hall itself was ceded to the French authorities and became the residence of [[Louis Bonaparte|King Louis Napoleon]]. Nicolaas, who went on to play a central role in various negotiations on behalf of the [[Batavian Republic]], died himself in 1817 and bequeathed this collection to the closest substitute institution he could think of, namely the ''Directie van den Levantschen handel te Amsterdam'', or 'Directors of the trade with the Levant in Amsterdam'. That institute was dissolved in 1826 whereupon the collection was absorbed into the national collection and spread over multiple locations. In 1903 the paintings were reunited and have since been on show together in the [[Rijksmuseum]] collection.<ref>[https://archive.org/details/catalogusderschi00rijk_3/page/n376/mode/1up Vanmour series] in the [[Rijksmuseum]] catalog of 1910 on archive.org</ref> |
In his will of 1762, the bachelor Calkoen directed his nephew and heir Nicolaas to keep the collection together, and it was his express wish that they were to hang in the room of [[Royal Palace of Amsterdam|Amsterdam City Hall]] reserved for directors of Eastern trade. Unbeknownst to him or his heir, soon the city hall itself was ceded to the French authorities and became the residence of [[Louis Bonaparte|King Louis Napoleon]]. Nicolaas, who went on to play a central role in various negotiations on behalf of the [[Batavian Republic]], died himself in 1817 and bequeathed this collection to the closest substitute institution he could think of, namely the ''Directie van den Levantschen handel te Amsterdam'', or 'Directors of the trade with the Levant in Amsterdam'. That institute was dissolved in 1826 whereupon the collection was absorbed into the national collection and spread over multiple locations. In 1903 the paintings were reunited and have since been on show together in the [[Rijksmuseum]] collection.<ref>[https://archive.org/details/catalogusderschi00rijk_3/page/n376/mode/1up Vanmour series] in the [[Rijksmuseum]] catalog of 1910 on archive.org</ref> |
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==See also== |
==See also== |
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Revision as of 16:23, 4 June 2023
Jean Baptiste Vanmour | |
|---|---|
 Scene in the Harem with the Sultan, painting by Vanmour | |
| Born | 9 January 1671 Valenciennes, France |
| Died | 22 January 1737 Constantinople (Istanbul) |
| Nationality | French |
| Known for | Painter |
| Movement | Orientalist |
Jean Baptiste Vanmour or Van Mour (9 January 1671 – 22 January 1737)[1] was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III.
Biography
Van Mour was a native of Valenciennes, a Flemish town that at the time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gérin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour accompanied the De Ferriol to Constantinople after the Marquis' appointment as the French Ambassador in 1699. It was there that De Ferriol commissioned Van Mour to do one hundred oil paintings of the local people.
After De Ferriol returned to France in 1711, Van Mour worked for a variety of other diplomats in the Ottoman Empire. A series of one hundred engravings were created after Van Mour's portraits, which was published by Le Hay in 1714, titled as Recueil de cent estampes représentant différentes nations du Levant.[2] The book had a great influence in Western Europe and was published in at least five languages. The wide-distribution and popular reception of the Recueil de cent estampes led to an increased recognition of Van Mour as an artist.
Painting audiences with the Sultan became Van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government.
Dutch Van Mour series
In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Van Mour with him, such as when he was appointed as ambassador in Dresden for the Dutch Republic.
_in_2013.jpg)
In his will of 1762, the bachelor Calkoen directed his nephew and heir Nicolaas to keep the collection together, and it was his express wish that they were to hang in the room of Amsterdam City Hall reserved for directors of Eastern trade. Unbeknownst to him or his heir, soon the city hall itself was ceded to the French authorities and became the residence of King Louis Napoleon. Nicolaas, who went on to play a central role in various negotiations on behalf of the Batavian Republic, died himself in 1817 and bequeathed this collection to the closest substitute institution he could think of, namely the Directie van den Levantschen handel te Amsterdam, or 'Directors of the trade with the Levant in Amsterdam'. That institute was dissolved in 1826 whereupon the collection was absorbed into the national collection and spread over multiple locations. In 1903 the paintings were reunited and have since been on show together in the Rijksmuseum collection.[3]
See also
References
- ^ Faroqhi pp443
- ^ Moronvalle, Jeff (2010). Le Recueil Ferriol (1714) and Turquerie Fashion (in French).
{{cite book}}:|work=ignored (help) - ^ Vanmour series in the Rijksmuseum catalog of 1910 on archive.org
Sources
- Faroqhi, Suraiya. The Cambridge History of Turkey: The later Ottoman Empire, 1603–1839 Cambridge University Press. 2006. ISBN 978-0-521-62095-6
- Moronvalle, Jeff (2010). Le Recueil Ferriol (1714) and Turquerie Fashion. Dix-Huitième Siècle.
External links
Media related to Jean Baptiste Vanmour at Wikimedia Commons
- 73 artworks by or after Jean Baptiste Vanmour at the Art UK site
- The Rijksmuseum on Vanmour
- Friends of Vanmour
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