Church Interior, Jan van Vucht; Anthonie Palamedesz.

Artwork Overview

1603–1637
Church Interior, circa 1625–1632
Where object was made: Dutch Republic (present-day Netherlands)
Material/technique: panel; oil
Dimensions:
Canvas/Support (Height x Width x Depth): 79.37 x 103.19 cm
Canvas/Support (Height x Width x Depth): 31 1/4 x 40 5/8 in
Credit line: Museum purchase
Accession number: 1982.0119
Not on display

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Images

Label texts

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.

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 115 Jul-2007, Ellen O’Neil Rife I’m David Cateforis with another Art Minute from the Spencer Museum of Art. A seventeenth-century painting in the Spencer collection depicts the interior of an imaginary church. It is the work of two Dutch artists, Jan van Vucht and Anthonie Palamedesz. The viewer gazes down the nave of a large Italianate-style structure lined with classical columns and capped by a dome at the crossing. In the apse, an altar and painted altarpiece make clear that this fictional building is meant to resemble a Catholic church. Dating to around 1630, this painting was made to appeal to the contemporary taste of art collectors in the Dutch Republic for depictions of the interiors of imaginary churches. It also shows the specialized nature of the Dutch art market. Van Vucht, who specialized in architectural views, painted the setting, while Palamedesz, a portrait and genre painter, added the figures. Interestingly, Van Vucht frequently worked with a dealer who determined the price he would pay for a painting based on the number of columns the artist included in the imaginary building. The Spencer’s van Vucht painting shows twenty columns, while other examples of his work include upwards of fifty. With thanks to Ellen O’Neil Rife for her text, from the Spencer Museum of Art, I’m David Cateforis.