Adam frans van der meulen wiki

Adam Frans van der MeulenBrussel11 januari - Parijs15 oktober [ 1 ] was een Vlaamse barokschilder. Hij geniet vooral bekendheid met zijn taferelen van militaire campagnes en veroveringen. Hij maakte ontwerpen voor prenten en wandtapijten. Hij werkte in dienst van de Franse koning Lodewijk XIV van Frankrijk voor wie hij zijn overwinningen, zijn nieuwe bezittingen en portretten schilderde.

Adam Frans van der Meulen werd geboren in Brussel, waar hij op 11 januari werd gedoopt. Van der Meulen slaagde erin de stijl van Snayers zo te imiteren en te perfectioneren dat zijn werken tot over de grenzen heen in trek waren. De Franse minister Jean-Baptiste Colbert nodigde, op aanbeveling van de eerste hofschilder Charles Lebrun in Van der Meulen uit om in Franse hofdienst te komen werken.

Meulen; V. Van Der Meulen; Vandermulin; V. Van Dermeuler; van der Meuten; F. Vander Meulen; Vendermeulen; a. Vandermeulen; Vander Mulin; Ant. Vandermeulen; V. Vandermeulen; F. Vander Meulen; A. Meulen; A. Adam Frans van der Meulen nasceu em Bruxelas, onde foi batizado em 11 de Janeiro de Van der Meulen foi o pupilo do pintor belga Pieter Snayers.

Os primeiros trabalhos de Van der Meulen lidavam com os mesmos temas centrais de seu mestre Snayers, particularmente conflitos de cavalarias. Os dois artistas fizeram desenhos de cerca de 32 cidades que foram conquistadas pelos franceses durante a campanha. Durante essa viagem ele conheceu o pintor flamengo de paisagens Cornelis Huysmans perto de Dinant.

After his death, seals were affixed to his apartment and studio, as had been the case at the time of Le Brun's death a short time before, since Louis XIV asserted his royal privilege. As van der Meulen was an ordinary painter to the King, and resided at the Manufacture des Gobelins, the sovereign ordered a number of works to be seized, which he thought proper to be returned to him.

Van der Meulen was one of the foremost battle painters of his time. He is also known for his many topographical drawings, which he made as preparations for his battle pieces. He painted equestrian portraits and painted and drew many animal studies. The most important portion of van der Meulen's work is made up of battle scenes.

Adam frans van der meulen wiki

His early works in this genre were close in style to those of his master Pieter Snayers. These early works from the s depicted scenes of fighting horsemen. Like Snayers he frequently represented a village under attack. These works relish in the depiction of the whirling melee of horsemen and horses itself, as if in distant response to Leonardo's Battle of Anghiari.

After moving to France and becoming the official war artist of Louis XIV during the multiple military French campaigns in Europe of the late 17th century, van der Meulen developed a new approach to his depictions of battles. He excluded the horror and morbid rawness of the events. On a second plane is typically depicted the supposed movement of the troops and in a third and last plane the profile of the city being attacked.

The action is depicted in receding planes accentuated by the folds of the terrain, the alternation of zones of shadow and light and the gradual fading of the light, which marks a view towards a city in the distance. The uniformity of these compositions can be explained by their use for political purposes. Nevertheless, the paintings of the artist were always praised for their beauty and their use for the decoration of the Royal Pavilion of Marly, for the vestibules as well as for the rooms, shows the fully decorative virtue of his animated and varied landscapes.

The crossing did not involve any military engagement with the Dutch troops and solely involved the French troops wading through the Rhine when the water was low. Nevertheless, this event was described in contemporary French propaganda as a feat equal to those of Alexander the Great and Emperor Constantine the Great. Many writers and visual artists eulogized the French king for this exploit.

The various depictions misrepresent, however, the actual history of the event. Van der Meulen's paintings of the crossing of the Rhine, which show Louis XIV in the foreground commanding the action are thus a conscious misrepresentation of history for propaganda purposes. In the version in the Louvre van der Meulen has placed Louis XIV at the heart of the event, in the immediate vicinity of danger, thus emphasizing the king's courage and power.

These inscriptions invariably highlight the direct involvement of the French king in the glorious events being depicted and thus go beyond a simple description of the events. It is clear that the contemporary perception was that these works were made to preserve the memory of the king's military feats for posterity. The various versions depict the King in the company of different personages although they are placed in the same place in the composition.

It is possible that these variations were made at the behest of the patron for whom a particular version was created.