Johannes Lingelbach

Portrait of the brothers Jan and Samuel van Hoogstraten (with honorary medaillon) with the portrait of Johannes Lingelbach (right), in Arnold Houbraken, "Schouburg, Volume II', 1719

The sack of Rome in 1527, by Johannes Lingelbach.

Johannes (or Johann) Lingelbach (1622–1674) was a Dutch Golden Age painter, associated with the second generation of Bambocciate, a group of genre painters working in Rome from 1625 - 1700.

Biography

Lingelbach was born in Frankfurt, the son of David Lingelbach, a German technician, who in 1634 settled in Amsterdam with his wife and children. In 1638 the father hired and later established a labyrinth in the Jordaan. He furnished it with machines, that could move or play music and depicting biblical or mythological scenes. In the late 40s Johannes Lingelbach travelled to France (?) and Italy. After returning to Amsterdam, around 1653, Johannes married. Around 1662 Lingelbach lived in Reestraat, a small street near Prinsengracht; he became a close friend of Jurriaen Ovens.

His work began to show an influence from Philips Wouwermans' landscapes. His skill in painting genre figures is no less accomplished in his depictions of architectural and natural objects. He was often invited to paint the figures and animals within other artists landscape pieces, such as the Dutch master landscape painter, Meindert Hobbema and Jan van der Heyden.^[1] His study of architectural forms came from observing the paintings of another Bamboccianti, Viviano Codazzi, an Architectural Vedutisti, or view painter.

Lingelbach followed the style of the original Bamboccianti, Pieter van Laer, called Il Bamboccio, bringing his own Italianate style into influence of Northern European painters. He is one of the few Dutch painters of the Bamboccianti, whose works are documented in depth, making his influence greater in the progression of the style.^[2] Some of his works in Rome were once attributed to Pieter van Laer, but are now rightfully claimed to be Lingelbach’s, such as his, Roman Street Scene with Card Players, (National Gallery). These works show the Italian influence of Caravaggio in their realism and refined chiaroscuro effect, also seen in works such as Lingelbach's, A mounteback and other figures before a locanda with a capriccio view of the Piazza del Popolo, Rome, (Royal Collection).^[3] Lingelbach died in Amsterdam.

Lingelbach’s forms were accomplished in there effects of light and spatial accuracy, but much freer than that of Codazzi.^[4]

Selected works

Battle of Milvian Bridge, c. 1650.

Flemish Town Sieged by the Spanish Soldiers, c. 1674.

• 17th century - Bathing Gypsies, Oil on canvas, (Öffentliche Kunstsammlung, Basel)^[5]
• 17th century - A Sea Battle, Oil on canvas, (Private Collection)^[6]
• 1640s - Roman Street Scene with Card Players, Oil on canvas, (National Gallery, London)^[7]
• 1640s - A mounteback and other figures before a locanda with a capriccio view of the Piazza del Popolo, Rome, Oil on canvas, (Royal Collection, London)^[8]
• c. 1650 - Battle of Milvian Bridge
• 1650 - The Blacksmith, (Private Collection)
• 1650 - Self-portrait with Violin, (Zurich)
• 1651 - Dentist on Horseback, (Rijksmuseum, Amsterdam)
• 1651 - Peasants Dancing, Oil on canvas, (Metropolitan Museum of Art, New York City)^[9]
• 1652 - Battle Scene, Oil on panel, (Getty Museum, Los Angeles)
• 1653 - Roman Market Scene, Oil on canvas, (Royal Museums of Fine Arts, Belgium)^[10]
• 1660s - Deer Hunt, Oil on canvas, (Hermitage Museum, Saint Petersburg)^[11]
• 1660 - The Piazza del Popolo, Rome, Oil canvas, (Minneapolis Institute of Arts, Minneapolis)^[12]
• 1664 - Peasants loading a Hay Cart, Oil on canvas, (National Gallery, London)^[13]
• 1671 - Battle Scene, Oil on canvas, (Metropolitan Museum of Art, New York City)^[14]
• 1674 - Flemish Town Sieged by the Spanish Soldiers, Oil on canvas, (Hermitage Museum, Saint Petersburg)^[15]"Imaginary Harbor"oil on canvas Ringling Art Museum,Sarasota,Florida

References

External links

Wikimedia Commons has media related to Johannes Lingelbach.

• Works and literature at PubHist