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De Samenwerking Tussen Peter Paul Rubens En Jan Brueghel I1 Christine Van Mulders

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De Samenwerking Tussen Peter Paul Rubens En Jan Brueghel I1 Christine Van Mulders De samenwerking tussen Peter Paul Rubens en Jan Brueghel i1 christine van mulders Het corpus van schilderijen van Peter Paul Rubens in samen- leven en het portret, en anderzijds de italianiserende, zoals werking met Jan Brueghel i omvat een dertigtal werken. het historietafereel met religieuze, mythologische en alle- Hieronder bevinden zich kransen of guirlandes met meestal gorische onderwerpen, de aanzet tot nog meer doorgedre- religieuze afbeeldingen, interieurs met allegorische voor- ven specialisering. Die vormde op zijn beurt een voedings- stellingen en landschappen met historietaferelen. De perio- bodem voor productie-eenheden van samenwerkende schil- de waarin deze samenwerking haar sporen naliet, loopt van ders. Onder de nieuwe kunstenaarsduo’s bevonden zich onder 1598/1600, de vermoedelijke ontstaansdatum van hun eerste meer Cornelis van Dalem-Gillis Mostaert, Jacob Grimmer- schilderij, tot 1625, het sterfj aar van Brueghel.2 Gillis Mostaert, Hans Vredeman de Vries-Gillis Mostaert, Jacob Grimmer-Marten van Cleve en Cornelis Molenaer- De studie van het creatieve proces in het oeuvre van Rubens Marten van Cleve.5 Ook na crisis van de Beeldenstorm van in samenwerking met Jan Brueghel i, kadert binnen de bre- 1566–1585 overleefde de praktijk van de samenwerkende pro- dere context van de samenwerkingsverbanden tussen zelf- ductie-eenheden. Gillis van Coninxloo werkte samen met standige schilders in het algemeen. Het onderzoek naar het Karel van Mander en Gillis Mostaert; Joos de Momper ii met ontstaan van het concept van de schilderijen van Rubens in Frans Francken ii, Sebastiaen Vrancx, Hendrick van Balen en samenwerking met Brueghel articuleert zich dus gedeelte- Jan Brueghel i en ii.6 Andere duo’s waren Denijs van Alsloot- lijk rond, enerzijds, de schilderorganisatorische en institu- Hendrick de Clerck, Abel Grimmer-Hendrick van Balen en tionele en, anderzijds, de culturele en sociaal-economische David Vinckboons-Hendrick de Clerck.7 mechanismen die aanleiding gaven tot de creatie van een Tijdens de eerste helft van de 17de eeuw, toen het herstel van kunstwerk in samenwerking. Daarnaast zijn er uiteraard Antwerpen zich verder voltrok en de stad een beloftevol cen- nog welbepaalde biografi sche feiten bij beide kunstenaars, trum bleef inzake schildersopdrachten van Kerk, hof, adel en die hun teamwork hebben geïnitieerd en gestimuleerd. burgerij en bovendien een goed uitgebouwde internationa- le kunstmarkt kende, verspreidde het fenomeen van de sa- De eerste, eerder schaarse, vormen van samenwerking tus- menwerking zich verder. Productie-eenheden gevormd rond sen zelfstandige schilders zijn reeds aan te duiden in het fi guren zoals Jan Brueghel i en Rubens hebben hierbij onge- eerste kwart van de 16de eeuw, waar zij ontstonden als een twijfeld een rol gespeeld. Evenals het teamwork van de 16de gevolg van de ontwikkeling van verschillende genres en eeuw was hun samenwerking ingegeven door de specialize- de specialisering binnen de schilderkunst.3 Zo liet Joachim ring, die in de 17de eeuw haar hoogtepunt kende. Brueghel was Patinier zich, als vaardig landschapschilder, regelmatig bijstaan gedurende zijn hele loopbaan vertrouwd met teamwork. De door gespecialiseerde fi gurenschilders, waaronder zijn goede vroegste werken van Brueghel ‘in samenwerking’ kwamen vriend Quinten Metsijs.4 Rond het midden van de 16de eeuw be- tot stand tijdens zijn verblijf van 1589 tot 1596 in Italië, waar tekende het groeiend aantal genres met enerzijds de autochtone, hij onder meer werkte voor kardinaal Federico Borromeo.8 zoals het narratieve devotietafereel, het landschap, het mora- Hij schilderde er samen met Hans Rottenhammer en Jacob liserende genrestuk, het markt- en keukentoneel, het stil- de Backer.9 Ook nadien te Antwerpen bleef hij schilderij- 107 1 en maken met Rottenhammer.10 Vermoedelijk kort na zijn in andere productie-eenheden; die met Jan Brueghel ii, Paul terugkeer uit Italië is Brueghel in contact gekomen met Bril, Frans Snyders, Paul de Vos en Jan Wildens waren de Hendrick van Balen, met wie hij hecht bevriend werd en fre- voornaamste. quent samenwerkte. Van Balen had zich sinds het begin van de eeuw gespecialiseerd in het vrouwelijk naakt, een thema De institutionele context stond de zelfstandige samenwer- waar Brueghel zich niet aan waagde. In de talrijke allego- king niet in de weg. De arbeidsreglementering van de Sint- rische taferelen van de zintuigen, de elementen en de sei- Lucasgilde bevatte geen specifi eke richtlijnen betreffende zoenen, stoffeerde bijvoorbeeld Van Balen de landschappen deze tijdelijke productie-eenheden. Dit is een eerder eigen- van Brueghel.11 Vele van deze schilderijen werden gemaakt aardige vaststelling, gezien het feit dat de trend van effi - in opdracht van of voor Borromeo.12 Ook Tobias Verhaecht, ciënte specialisatie en samenwerking in de loop van de 17de Hendrick van Steenwijck, Sebastiaen Vrancx en Hendrick de eeuw uitgroeide tot een kenschetsende modus van artistieke Clerck werkten al samen met Brueghel vóór Rubens’ terugkeer bedrijvigheid. Het strenge gildesysteem had echter wel een uit Italië en meteen in het begin van zijn regelmatige samen- atmosfeer van collegialiteit gecreëerd. Deze verbondenheid werking met Brueghel.13 Met de jaren kwamen er nog nieuwe werd in sommige gevallen nog extra ondersteund door de samenwerkingen bij. Zo associeerde Brueghel zich met Joos oude traditie van de kunstenaarsfamilies, die zich regelmatig de Momper ii, Frans Francken ii, Peter van Avont, Jan Wildens via het huwelijk met elkaar verbonden. De families Brueghel, en Frans Snyders.14 Ook Rubens werkte gedurende zijn hele De Jode, Kessel, en Teniers zijn hiervan voorbeelden.15 De im- carrière samen met Brueghel, maar was eveneens werkzaam pliciete erkenning door de gilde van de zelfstandige samen- fig. 1: peter paul rubens en jan brueghel i (toegeschreven), Amazonenslag, 108 Potsdam, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, Schloss Sanssouci, Bildergalerie werking blijkt, onder meer, uit het groot aantal dekens die Binnen de low-level-samenwerkingen opereerden ‘tweede- geregeld in dit soort teamwork actief zijn geweest. Een ande- rangs’ schilders uit louter opportunistische overwegingen. re getuigenis van waardering was de schenking door de stad Samenwerking was een noodzaak, gezien de eenzijdige vak- Antwerpen aan de aartshertogen tijdens hun bezoek in 1618 kundigheid die de specialisering met zich meebracht. Op van twee panelen met de Allegorie van het Gezicht en de Reuk en korte tijd kon bovendien betrekkelijk veel geproduceerd de Allegorie van het Gevoel, het Gehoor en de Smaak, geschilderd worden. Het auteurschap had vrijwel geen belang en werd in opdracht en uitgewerkt door een twaalftal kunstenaars door de handelaar, die dikwijls tussenpersoon en opdracht- onder leiding van Brueghel.16 Voorts lieten de Antwerpse re- gever was van de kunstenaars, geheimgehouden voor de ko- derijkers de Violieren in 1618 hun blazoen vervaardigen door pers. De handelaars traden in dat geval op als organisator en een groep van vier schilders: Frans Francken ii, Hendrick verdeler. van Balen, Sebastiaen Vrancx en Jan Brueghel i. De samenwerking tussen Brueghel en Rubens behoorde ui- teraard tot de high-level-categorie. De culturele en sociaal-economische context hield verband Bepalend voor de stijgende waarde en het groeiende succes met de manier waarop schilderijen waarde kregen in de 17de- van deze schilderijen was eerst en vooral hun uitzonderlijke eeuwse Antwerpse cultuur. In het teamwork van zelfstandi- kwaliteit. Niettegenstaande Brueghel en Rubens zich mani- ge schilders dient een onderscheid te worden gemaakt tussen festeerden als allround schilders, waren ook zij zich bewust verschillende niveaus van samenwerking, die tevens ken- van hun opperste kwaliteiten: Brueghel als stilleven- en na- merkend waren voor de sociale status van de kunstenaars. tuurschilder – zijn delicate, haast miniaturistische schil- Honig spreekt over low- en high-level collaborations; Van der dertechniek kwam in deze genres als nergens anders tot zijn Stighelen bespreekt collaborative circuits.17 recht – en Rubens als fi gurenschilder – met geniale hand wist hij in zijn vluchtige, maar perfect beheerste stijl de lichamen 2 fig. 2: peter paul rubens en jan brueghel i, Banket van Acheloüs, New York, The Metropolitan Museum of Art 109 te animeren. Daarom verkozen Brueghel en Rubens om ook Brueghel, zegt niet alleen iets over Rubens’ prille, hoge artis- samen kabinetschilderijen te maken. tieke niveau maar is tevens een indicatie van de toen reeds De waarde en het succes van deze werken waren voorts gro- heersende vertrouwdheid met het fenomeen van de samen- tendeels te danken aan de hoge socio-culturele status van werking. Vermoedelijk ging het om initiatieven van de be- de coöpererende schilders. De stijgende belangstelling van trokken schilders zelf, waarbij deze prestigieuze producten de 17de-eeuwse toeschouwer voor het auteurschap van een ofwel bewaard bleven in hun eigen verzameling ofwel aan- schilderij in het algemeen en de daarmee gepaard gaande geprezen werden bij belangrijke collectioneurs van het ogen- nieuwe rol en sociale status van de connaisseur populariseer- blik, zoals bijvoorbeeld de hoger vermelde Gaspar Duarte i den het beschouwen én het trachten te onderscheiden van en Herman Neyts. verschillende handen in schilderijen in samenwerking. In tegenstelling tot de renaissancistische gedachte dat het au- De belangrijkste periode van de samenwerking Rubens- teurschap in het brein van één kunstenaar lag,
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