©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte EVA. JA 'A IROKA HA S SPECKAERT AS A DRAUGHTSMAN AND A TEACHER Han peckaen (c. 1540 - c. 15 77), be t known a a care rhat he may no t have died a young a \ 'an draug ht man, carn e from Bru el and likely pen t Mander ugge red.6> Hi tudie are mo tly partly or more than a decade in I taly (ca. 1562 - ca. 1577), par­ hi ghly fini hed fi gurai compo ition . ofren wirh la nci- ticularly in Ro me. li peckaert' graphic awvre i not cape , for engra,·ing , painting , ra pe trie , and ea )' to evaluate, becau e he naturally ab orbed multi­ relief cu lpture. Ba ed o n the known corpu of work , ple arti ti c currents around him. From ome one hu11- peckaen · -ryli tic development can be rraced in dred and ixry drawing attributed to him, approxi­ two maj or tage within a fruitful and relatively long mate!y one third can be con idered auù1enùc and Ù1e oj ourn in Italr- re t are copie and fai el attributed drawing .2> Jany peckaert' career likely began in the earlr 1560' of the drawing in cribed with hi name are actua ll · in the Veneto, in the work hop of J acopo Ba ano, copie .3> T he 'Cmcifixion' in Munich i ù1e onl auto­ where he a imiJ ated the working habit of h i ma ter graph work by Speckaert with uch an in c ripti o n. ~ > and, in turn, may well have influenced the Veneti an . one of the authe ntic drawing are dateci, and onl ' ma ter' palette. While in Venice, peckaert al o mu t rwo are cio ely related to known painùng , ù1e 'Brazen have met Federico Zuccaro, to whom hi own work i erpenr· in Bueno Aire and J ael and i era' in Rot­ often mi artributed. and hi life-time friend, Corneli terdam. 5> Con . In Ù1 e later 1560' , peckaert' Venetian oj ourn Speckaert wa a t a lenr~d draughr man of surpri - wa followed by a tran fer t:o Ro me, po ibly with a ing kill and ver arili ty. The broad tyli tic range of brief rop in Emilia.ì> In thi pha e. hi ryle pro­ ' peckaert's drawing record hi growth and indi- gre ed from a earching penman hip to a more ele- fu\N I'ECKAERT: G.\IUS F.\BRJ IL' LL U:\t: RETt:RX l H E TRE. L' RE O F I'YRRHL' . 133 ................. __________________________ ___ ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte 2- BR UXELLES, MUSÉE DES BEA X- ARTS, CABI ET DES DESSIN S HANS S PEC KAE RT~ THE AN UNCIAT!O gant Parmigianinesque style as refl ected in the courtly studies which were assiduously copied by Northern art of Mirola and Bertoj a. Once in Rome, a rich blend and l talian artists, some of which also served Aegidius of Michelangelesque sculptural style suffused with Sadeler for his series illustrating six images from the Raphaelesque sweetness in the works of the Zuccari, 'Life of the Virgin', engraved in 1593 after Speck­ Siciolante da Sermoneta, and Giulio Clovio began to aert's death.9l mark Speckaert's drawings. Here, the most influential Sp eckaert's pe nmanship is char acterized by spi­ ingle personality would probably have been Speck­ dery thin outlines, selectively highlighted by a heav­ aert's friend and compatriot Cornelis Cort (1533- ier contour line. This characteristic is already evi­ 1577).8> By the early 1570's, Speckaert's maturing dent in one of his earlier drawings, 'Gaius Fabricius penmanship combined ali of the above quali ties in a Luscinus Returns the Treasure of Pyrrhus' in fluid manner. T hereafter, he continued to produce Stuttgan (fig . l ), in which the local energetic hatch- 134 ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte SPTIUTVS SANCTVS SVPERVENIET IN TE :ET VIR.TVS .ALTISSIMI OBV.MBRAIIIT Tl!II QVAPROPTER ET QVOD NASCETVR SANCTVM , VOCABITVR. J"lLIVS DEI • LVC:: . I · ;-Juf~r/<•fi· 3 - DAR.\!STADT, HESSISCHES L'\1 DES~I U EUM .!EG IDI U ADELER Aflt:.R HANS PECKAERT. TI! E AN CIATION, E GRA\'lNC (photo courlesy of Hessisches LandesmtLSI!Wil Dannstadt) ing is al o typical. In hi late drawing , the hatdting paper and to accent hi campo ition with white practicall di appear , and trategicalJy placed wa h­ heightening. IO) e enhance the volumetric propert of the image . Five drawing in the Rijk mu eum in Aro terdam T he 'Annunciation' in Bru el (jìg. 2), one of three were published by Daco a the youthfu l work of extant drawing engraved by adeler (jìg. 3), erve Speckaert ti li under the influence of Peter de Kempe­ a an example of his late tyle, where the bru h mel t neer. Their figurai group link the author to orthern the ~u r face in a painterly mode quite different from training, but the hilly land cape ugge t a definite ~h a t m peckaert' early work . Both of the studie ltalian experience. H owever, fo ll owing hi ItaJ ian ~n tuttgart and Bru el are executed in a yellow- sojourn and hi activity in eville, pain, where he i 1 h-brown ink and light-brown wa h, a technique documented from 1537 to 1562, De Kempeneer common far the arti t, who al o liked to u e tinted returned to Bru el when peckaert wa en roule to or 135 ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte -1- .\MSTERDA \1. RIJKS:'>Il: EU~ ! , RIJKSPREXTEJ\"K.\81:\ET HA.'\ PEC KAERT: J O H CA EXHO RTS 11-rE PEOPLE T O BE FAJ11-JFCL T O GOD already in Italy.''l leverthele s the large ketche , in which ù1e bru h el'•e a an appropriate tool, one nat­ urali linked with tudie for tape trie , are indeed peckaert' and the are tylistically linked with hi ini­ tial period in the Veneto region. \Vhile the rudy for Joshua Exhorts ù1e People to be Faithful to God· (fig. 4) appear far removed from peckaert' elegant design for the 'Annunciation', it does contain ome of tho e elements of the ani t' vocabulary till p re ent in hi later reuvre. One uch peculiari!)· i the depiction of ab rracted and, at time , awkwardly drawn feet. The e, in some work , are connected to a forest of leg and thin angular draperie "·hich fili in the middle ground of the compo ition in a d1 -rhmic pattern.t2l 'Abrabam and l aac', a high! · refined and fini hed drawing in Budape t datable in the late 1560's, depicts Ù1e elegantly triding Abraham wiù1 imilar awkwardly dra\\·n feet. 13> Early dra' ings like the group in Arn terdam are rare and can often be recognized only with upporting materia!. 1\m engraving , 'Saint Peter' (fig. 5) and ' aint Augu tine' bearing the addre of Harmen Muller, were publi hed in the late 1580' . 1-l l 'Saint Peter' contrast highly with the more mature tyle of two aint , particularly tbat of ' aint Roch·, engraved b · Cort in 1577 hortly before hi ancl Speckaert's death .n> Although fir t published ome rwenl)' fìve 5 - STLITGART. 51::-\AT G.\LERI E, GRAPIII CHE A\I~ILL' '\ C years after it conception, the de ign of the toc\...1• fig­ A FTER 1-l.\N PECKAERT: Al:'\T PETER, El'iGR\\1.'\C ure o[' aint Peter· with hi broad feet belong to the 136 ©Ministero dei beni e delle attività culturali e del turismo-Bollettino d'Arte formative tage of peckaert' career from which onl ' fmanced by the Dominjcan n un in 155 1, but ti li not rwo imilarly ryled drawing are kno,m.l6> begun a decade later.1 9I peckaert' Venetian ojourn and hi friend hip with A mi identilied print in the Briti h ~fu eum, the Cort, whorn peckaert portrared, i no"· hard to di - 'Crucifi ion·, pre erve peckaert' dran1atic compo i­ pute. A con iderable group of drawing demon trate tion, which furù1er link h_i tudie from hi \'enetian peckaert' predì po itio n toward the medium of period.20> T he prim, a combined etching and a mez­ greeni h-blue coloured paper, dramatic wa he . whire zotint, capture the originai technique, ùnt of a draw­ heiO' htening, and a generai tyle tha t poinr to thi ing on timed paper, uch a in the Am terdam rudy area. \\'bile he may parrially have learned thi tech­ fo r a 'Ba u le of tude Men' executed on blue paper nique from chiaro wro print of arti t like Verone e, a with pen, brown ink, brown and grey wa h, and number of peckaen· tudie al o contain a \ enetian heightened with white. The background battle cene motif of hung drapery and other compo itional ele­ in ù1e London print find clear parallel in Ù1e Am - mem which would have been diflìcult to gain olel · terdam drawing. The 'Entombment in the \ 'ictoria from tud ing prints.l7l and Albert Mu eum, ryli tically do el • related tO the T he ~Iuni c h 'Crucifi xion', quared for tran fer, i a print in the Briu h fu eum, wa likely conceived fora tud compo itionally linked to a paintin(J' igned b ' erie from the 'Life of hri t' and i kno"'n fro m Jacopo Ba ano, depo ited originall y in the church of copie in Berlin and Brno.2 1> an Paolo in 1562 and onl · more recenti tran ferred peckaert mu r have followed Con tO Rome horùy ro the .Mu eo CiYico in Tre,·i o.