Church Interior, Jan van Vucht; Anthonie Palamedesz.

Why paint an imaginary church interior? van Vucht chose to create fictitious interior scenes by combining elements of churches that he had visited in Flanders, the Catholic southern half of the divided Netherlands. This decision may have been inspired by the aesthetic of the period, which favored the artist’s conception rather than nature observed. van Vucht’s work represents a transitional moment between the preference for imaginary architectural interiors during the first part of the 17th century and a more accurate style of portrayal beginning mid-century. The inclusion of an organ, banned in Protestant churches, and the location of the main altar at the end of the nave identify this church as Catholic. During this time period, collaboration was common among artists. While van Vucht executed the architectural setting, Anthonie Palamedesz (1601–1673) added the small figural inhabitants that enliven the space as a meeting place for all classes of society.

Why paint an imaginary church interior? van Vucht chose to create fictitious interior scenes by combining elements of churches that he had visited in Flanders, the Catholic southern half of the divided Netherlands. This decision may have been inspired by the aesthetic of the period, which favored the artist’s conception rather than nature observed. van Vucht’s work represents a transitional moment between the preference for imaginary architectural interiors during the first part of the 17th century and a more accurate style of portrayal beginning mid-century. The inclusion of an organ, banned in Protestant churches, and the location of the main altar at the end of the nave identify this church as Catholic. During this time period, collaboration was common among artists. While van Vucht executed the architectural setting, Anthonie Palamedesz (1601–1673) added the small figural inhabitants that enliven the space as a meeting place for all classes of society.

Why paint an imaginary church interior? Jan van Vucht chose to create fictitious interior scenes by combining elements of churches that he had visited in Flanders, the Catholic southern half of the divided Netherlands. This decision may have been inspired by the aesthetic of the period, which favored the artist’s conception rather than nature observed. Van Vucht’s work represents a transitional moment between the preference for imaginary architectural interiors during the first part of the 17th century and a more accurate style of portrayal beginning mid-century. The inclusion of an organ—banned in Protestant churches—and the location of the main altar at the end of the nave identify this church as Catholic. During this time period, collaboration was common among artists. While van Vucht executed the architectural setting, Anthonie Palamedesz added the small figural inhabitants, which enliven the space as a meeting place for all classes of society.

Exhibition Label: "Empire of Things," 2013, Kate Meyer Why paint an imaginary church interior? Jan van Vucht chose to create fictitious interior scenes by combining elements of churches that he had visited in Flanders, the Catholic southern half of the divided Netherlands. This decision may have been inspired by the aesthetic of the period, which favored the artist’s conception rather than nature observed. Van Vucht’s work represents a transitional moment between the preference for imaginary architectural interiors during the first part of the 17th century and a more accurate style of portrayal beginning mid-century. The inclusion of an organ, banned in Protestant churches, and the location of the main altar at the end of the nave, identify this church as Catholic. During this time period, collaboration was common among artists. While van Vucht executed the architectural setting, Anthonie Palamedesz (1601-1673) added the small figural inhabitants which enliven the space as meeting place for all classes of society.