Gillis Peeters
A coastal landscape with a small ship and a man-o'-war on choppy waters
Disembarkation of a Merchant Ship on Southern Shores
A hilly landscape with travellers resting on a track
A wooded rocky landscape with a couple tending sheep
Landscape with a Pigeon House and Travellers
Travellers on a footbridge over a torrent in a mountainous landscape
Wooded Landscape with a Hermit and Travellers
Gillis
Peeters (1612 – 1653), was a Flemish painter, draughtsman and engraver
who contributed to the development of marine art and landscape painting
in Flanders.
Life
He was born in Antwerp. He was the older brother of the marine painters Catharina, Jan I and Bonaventura Peeters. He is recorded in 1631 as the pupil of the Dutch flower painter Anthony Claesz the Younger who had left his home country in 1629.
In 1634 Gillis became together with his brother
Bonaventura a master in the Antwerp Guild of Saint Luke.[1] Initially
the two brothers shared a studio in Antwerp until in 1641 Bonaventura
moved to Hoboken (Antwerp) where he worked in a studio with his
siblings and pupils Catharina and Jan Peeters.[2]
It is
believed that Gillis travelled to Brazil, possibly on two occasions.
The first time would have been in 1636 when he travelled probably in
the company of Johan Maurits van Nassau-Siegen who had been appointed
the governor of the Dutch possessions in Brazil. He arrived in Brazil
in 1637 but only stayed until the next year. He possible returned to
Brazil in 1640. During his stay in Brazil he produced four paintings of
views of Brazil and numerous drawings that were subsequently used by
himself and his brother Bonaventura in paintings of Brazilian scenes.[3]
He
was the father of Willem, Gillis the Younger and Bonaventura the
Younger.[4] Bonaventura the Younger was a sailor and marine artist.
There are also landscapes known by Gillis the Younger.
He died in Antwerp.[4]
Work
Although
Gillis Peeters, like most of the members of his artist family, is best
known as a marine artist, landscapes account for the major portion of
his output.
One of the earliest recorded work is the
Landscape with Watermill (Rijksmuseum) dated 1633. In its blue-green
hues it resembles the work of his contemporary Flemish landscape
artists such as Lucas van Uden.[5] His earlier landscapes representing
mountains with spruce of the 1630s are characterised by their tonal
palette and small figures.[1] These early works seem to be closer to
the travel landscapes of the Flemish painter Paul Bril, which depict
imaginary experiences in a southern landscape, than to the Baroque of
Peter Paul Rubens with its clear colours and bright light.[6][7] In the
1640s his horizons become deeper and his colours richer.[1] A Wooded
rocky landscape with a couple tending sheep (Christie's, 14 November
2007 in Amsterdam, lot 191) of 1652 (but possibly 1632) is a typical
example of his small-scale working style. Unlike contemporary Dutch
landscapes, which strived for realism, the landscapes of Peeters are
artificial and contrived and are intended as a form of poetry rather
than a realistic document. With their candy-like colours, picturesque
buildings and feathery trees they seem to anticipate the Rococo idyllic
visions of a François Boucher hundred years later.[6] Some of his
landscapes such as those he made in Brazil (for example View of
Pernambuco de Recife) are more topographical in nature.
His
marine paintings cover the range of stormy seas, battle scenes, river
scenes and harbour scenes and are similar to the early work of his
brother in their muted tones and atmospheric effect.
Gillis
collaborated with other family members and artists in Antwerp. For
instance, he collaborated with his brother Bonaventura on a painting of
the Battle of Kallo and other marine scenes.[8] There is also a
collaboration with David Teniers the Younger on A Scene in a Flemish
Village for which Teniers painted the figures and Peeters the
landscape.[9]
Gillis was trained as an etcher and made
various engravings of hunting scenes after designs by Frans Snyders and
a series of rural scenes and landscapes for the Antwerp publisher
Joannes Meyssens.[10]
References
Hans-Joachim Raupp, Landschaften und Seestücke, LIT Verlag Münster, 2001, p. 210-211 (German)
Margarita
Russell. "Peeters, Bonaventura, I." Grove Art Online. Oxford Art
Online. Oxford University Press. Web. 13 December 2014
Carla Mary
S. Oliveira, Frans Jansz Post y Las imágenes del Brasil holandés: ¿la
mirada que registra o el pincel que interpreta?, p. 3 (Spanish)
Gillis Peeters at the RKD (Dutch)
George Gordon. "Neyts, Gillis." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 13 Dec. 2014
Hans-Joachim
Raupp, 'Sichtbare und Unsichtbare Welten - nach der Natur und die
Phantasie', in: Maria-Theresia Leuker, Die sichtbare Welt: Visualität
in der niederländischen Literatur und Kunst des 17. Jahrhunderts,
Waxmann Verlag, 2012, p. 105-108 (German)
Hans-Joachim Raupp, Historien und Allegorien, LIT Verlag Münster, 1995 (German)
About Bonaventura Peeters I at Jean Moust
A Scene in a Flemish Village at Museums Sheffield
Engravings by Gillis Peeters at the British Museum
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