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821:) is regarded as Sweerts' most ambitious work in terms not only of compositional complexity and technical achievement, but also of historical and archeological erudition. The composition depicts a haunting, dramatic vision of the ravages of the bubonic plague in a classical setting. It is clearly an attempt by the artist at proving his talent both in the depiction of a historical scene of epic proportions that encompasses a broad range of emotional and psychological states in imitation of the grand classicizing style of his older French contemporary and fellow-resident in Rome,
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850:. Emperor Julian had sought a return to Roman paganism against the Christian faith. The plague during Julian's reign was regarded in Sweerts' time as a punishment for Julian's anti-Christian policies. In the composition Sweerts was likely commenting on the contemporary struggle of the Catholic Church against Protestantism. The historical, religious, artistic and archeological allusions of the composition would not have been evident to ordinary lay viewers but only to small group of the cultural elite who delighted in such painted puzzles.
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515:) Sweerts depicted the popular wrestling matches that took place in Rome's streets and were attended by a large audience. The representation is real, but at the same time somehow unreal. This is not only because of the dramatic lighting, but also by the fact that the movements of the men appear frozen. Sweerts relied for the main characters on classic images. Through the large scale of the nudes in this composition Sweerts lifted the 'vulgar' subject to a higher level.
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at the time. Sweerts shows in these scenes his preference for dark night skies and backgrounds, which dramatically light up the figures. These compositions represent the scenes in a frozen movement in a dreamlike setting almost like a film still. In this work
Sweerts expresses his compassion and empathy with the suffering of his subjects and his support for the charitable acts performed for them.
162:. Sweerts' contributions to the Bamboccianti genre display generally greater stylistic mastery and social-philosophical sensitivity than the other artists working in this manner. While he was successful during his lifetime, Sweerts and his work fell into obscurity until he was rediscovered in the 20th century as one of the most intriguing and enigmatic artists of his time.
741:(pensive) portrait, a motive going back to the fifteenth-century Neoplatonic concept that melancholy is the distinguishing feature of the creative character. The allegorical significance of the objects in the painting such as old books, empty purse, gold coins, and inkwell is consistent with this interpretation. The portrait also has a moralizing inscription,
556:(1648-1650, Rijksmuseum) shows various draughtsmen in an artist studio drawing after various plaster models and probably one live nude. There are also two visitors in the studio. The picture seems to depict the main principles and stages of studio practice, starting from drawing after casts and anatomical figures in plaster and then from the live model.
257:. He is said to have painted a portrait of Camillo Pamphilj. Sweerts also painted theatre decors for Camillo Pamphilj and purchased art for him as his agent. It is likely that his patron Prince Camillo Pamphilj involved Sweerts in the organization of an art academy in Rome. At the instigation of Camillo, the pope bestowed upon Sweerts the papal title of
574:, who worked in Rome. Other objects present in the composition include surveying instruments, a lute and sheet music. These objects are a reference to the need for artists to strive for harmony as well as respect accurate size and proportion. The glimpse of the library in the composition highlights that painters are not craftsmen, but learned artists.
764:(Marco Grassi Collection, New York), showing a man reading a sacred book amidst vanitas symbols such as a skull and an hourglass. The message of the painting may be that faith is available everywhere. This painting could foreshadow Sweerts' conversion to a more fanatical immersion in his faith that would finally compel him to travel to the East.
412:. A third category are allegorical works, which are regarded as enigmatic and are the subject of ongoing interpretation by art historians. Sweerts reportedly painted compositions of Biblical subjects, several of which are mentioned in contemporary inventories. However, none of these are known to have survived. One of his religious paintings, a
201:. By the time Sweerts arrived in Rome van Laer himself had already left the city. The Bamboccianti brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy. They created small cabinet paintings or etchings of the everyday life of the lower classes in Rome and its countryside.
453:, Amsterdam). The latter composition depicts a group of people whose card game is interrupted by a brawl. Their eyes send the gaze of the viewer to the right, in the direction of the pointing arm of the man in the front. This painting possibly symbolizes laziness. A cunning boy takes advantage of the chaos to rob the man in blue.
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In his portraits
Sweerts proved himself on a par with the leading contemporaries in the field. Sweerts is believed to have painted his tronies in Brussels or Amsterdam, i.e. between 1655 and 1661. He showed an interest in depicting ordinary people and exploring character and different expressions.
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It is during his time in Rome that
Sweerts developed a lifelong relationship with the Deutz family, who were one of the most prominent trading families of Amsterdam. In 1651 Jean Deutz gave Sweerts a power of attorney to act on his behalf in a sale of silk. The Deutz brothers also purchased paintings
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painted by
Vermeer some five years later. The young girls in both compositions are depicted with a combination of realism and idealisation. There are important differences between the two works. Vermeer's composition is more compact, his light reflections are more subtle and Vermeer uses yellow and
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Sweerts' genre scenes include several compositions depicting artists training or at work in their studios or outdoors. They provide valuable visual evidence on the work habits and training of 17th-century artists. Sweerts also depicted a number of drawing schools. He was himself actively involved in
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is based on the Gospel of
Matthew, 25: 31-46. These verses announce the Last Judgment, the event during which Christ is said to judge man by his works. Sweerts depicted the good works in a contemporary Roman environment and incorporated topographical elements from the neighborhood in which he lived
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A number of compositions deal with subjects, which appear to have an allegorical meaning. Many of these works still escape full understanding by contemporary scholarship. Some of his portraits carry an allegorical meaning and stand in the
Netherlandish tradition of depicting the five senses. An
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In 1658, Sweerts made for the Guild of Saint Luke of
Brussels a self-portrait as a farewell gift. He perhaps spent time in Amsterdam, probably as early as 1658. It is documented that he was present in Amsterdam for a number of months in the year 1661 just prior to setting off on his trip with the
720:, published in Antwerp between 1636 and 1641. The emphasis is on showing the artist as a virtuoso who possesses an aristocratic posture, learning and esteem. Sweerts made a mirror image reproduction of this self-portrait in an etching bearing the inscription Michael Sweerts Eq. Pi. et fe.
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The surviving works by
Sweerts mostly date to the period of his residence in Rome. Due to the difficulty of attributing works to the artist who rarely signed his works, the number of canvases given to the artist vary from 40 to 100. Some of Sweerts' works were so popular in his time that
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contemporary copies were made, some by
Sweerts himself, others by pupils or followers. It is not always easy to determine the level of Sweerts' involvement (if any) in the making of these copies. For instance, there exist at least four early copies, of varying quality, of his
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The prominence given to the plaster models in the right front of the composition show the importance in the artistic training and practice of contemporary artists of the study of casts of not only
Antique but also modern sculptures. In another composition on the theme of the
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Thomas Röske, "Blicke auf Männerkörper bei Michael Sweerts (1618-1664)", in: 'Männlichkeit im Blick, Visuelle Inszenierungen in der Kunst seit der Frühen Neuzeit' Published by Mechthild Fend und Marianne Koos, Cologne, Weimar, Vienna, 2004, pp. 121–135
528:). It has been demonstrated that Sweerts moved in a milieu in Rome from which women were generally excluded. The question remains whether some of his paintings of male nudes should be interpreted as denoting a message relating to homosexuality.
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Despite the fragmentary nature of evidence pertaining to his career in Rome, it would appear that Sweerts succeeded in creating for himself a sufficiently solid reputation to be invited to enter into the service of the ruling papal family, the
825:(1594–1665). Art historians have proposed various theories about what the composition depicts and its interpretation. Some see in it a generic depiction of the effects of the plague with no specific historical, moral or narrative meaning.
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In Rome, Sweerts painted genre paintings in the style of the Bamboccianti as well as a series of canvases on the activities and training of painters in their studios, attending classes or working from live models. He resided near
363:, 7 priests and another lay brother. In Syria he is said to have produced some paintings. On the overland portion of the trip in Syria he became mentally unstable and was dismissed from the company somewhere between Isfahan and
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priest who met Sweerts in 1661 reported that Sweerts had apparently experienced a 'miraculous conversion' and had stopped eating meat, fasted daily, had given away his possessions and took communion three or four times a week.
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Sweerts portrayed very non-classical (i.e. Netherlandish-looking) figures whose features are emphasized by sideway glances and curious expressions. The beautiful daylight and velvety backgrounds can also be found in works by
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blue tones in a more daring manner. Vermeer further shows the young girl wearing an exotic turban and a pearl earring that appears too big to be real. Sweerts prefers to show the girl as a simple maidservant without frills.
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in 1659. He opened an academy in Brussels where his students could work after live models and the Antique. He also created a series of prints of various human expressions, which were used in the training of his students.
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Despite enjoying the patronage of the highest echelons in Rome, Sweerts left Rome for unknown reasons sometime between 1652 and 1654. He is recorded in Brussels in July 1655 at the baptism of a child of his sister. In
233:. The Congregazione was a corporation of artists who organised annual exhibitions of their own paintings on the metal railings in front of the Pantheon. There is no evidence that Sweerts became himself a member of the
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where he was baptized on 29 September 1618 in the St. Nicholas Church as the son of David Sweerts, a linen merchant, and Martina Ballu. Little is known about the artist's early life and nothing about his training.
476:). Sweerts' compositions differ, however, from those of the other Bambocciante painters by his preference for antique sculpture and the noble appearance of his often monumental figures. Sweerts often used
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example is the series of five portraits of boys and girls representing the five senses, which are now dispersed over various collections. Two of them of a boy and a girl respectively representing
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series (ca. 1646-9), a series of 7 canvases which he painted in Rome as genre-style renderings of a religious theme. The canvases are now dispersed over various museums. The subject of the
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Sweerts etched a small number of plates, 21 in total. These were issued in small editions making his prints exceptionally rare. He engraved a series of 13 plates with a Latin title,
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Sweerts is an enigmatic and difficult artist to categorise, since he absorbed a variety of influences to create an eclectic style that adapted Netherlandish genre painting to early
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is known from the print, which Sweerts himself made after his own painting. The composition is unusual for the Virgin’s comforting gesture towards the inconsolable Mary Magdalene.
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650:(c. 1660, Kremer Collection), which is likely a portrait of a simple maidservant, also shows Sweerts' interest in portraying common people. The painting has been compared to the
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A large portion of the output of Sweerts consists of genre scenes. Some of these reprise the subjects popular with the followers of Caravaggio such as card and dice players and
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Other genre paintings by of Sweerts depict low-life scenes mainly placed in the Roman Campagna or on Rome's streets in a style close to that of the Bamboccianti. An example is
862:('Various faces for use by the young and others'), which served as drawing models for his academy students. For this reason a full set of the prints in the collection of the
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688:). In this depiction of a tavern habitué Sweerts succeeds in displaying his remarkable gifts for describing character as well as physical substances and light effects.
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He arrived in Rome in 1646 where he remained active until 1652 (or 1654). In Rome he became soon linked to the circle of Flemish and Dutch painters associated with
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were squared up in pencil to facilitate copying. The set was published in Brussels in 1656, the same year that Sweerts established a drawing academy in the city.
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631:, Los Angeles) is a noteworthy example of his ability to capture the lively and distinctive humanity of even his most humble, anonymous subjects.
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of Sweerts through the art market in Italy. Sweerts further acted for the Deutzes as an agent on the Italian art market. It is believed that the
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eds. F. Mormando and T. Worcester, Kirksville, Truman State University Press, 2007, pp. 237-312. For a confirmation of Mormando's thesis, see
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884:) is a very powerful portrait drawing of a young man. It is one of the first drawings attributed with any reasonable certainty to Sweerts.
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570:), a visitor to an artist studio is examining a cast of a limbless Apollo, which is based on a model by the 17th century Flemish sculptor
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401:(one copy at the Collection RAU - Fondation Unicef, Cologne). None of his paintings produced after he left Europe is known to survive.
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Other names by which he is known: Michele Suars, Michele Suarssi, Michiello Suerts, Michiel Suerz, Michiel Sweerts, il Cavaliere Suars
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237:. Sweerts lived from 1646 to 1651 in the Via Margutta where many foreign artists resided. While in Rome, Sweerts was the teacher of
604:. Sweerts' tronies of young women with their use of antique props also anticipate Vermeer. This work and another work such as the
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Sweerts painted a number of self-portraits and some of his portraits are regarded as being self-portraits. The earliest known
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National Gallery of Art Acquires Important Works Across Media by Adams, Moran, Whistler, Vasari, Sweerts, Le Va, and More
1256:, Metropolitan Museum of Art (New York, N.Y.), National Gallery (Great Britain), Metropolitan Museum of Art, 2001, p. 393
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1294:, The J. Paul Getty Museum Journal: Volume 8, 1980, The J. Paul Getty Museum, Getty Publications, 1 Jan 1980, pp. 63–68
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Some of Sweerts' tronies can be traced back to the "low life" studies of characters in the Spanish Netherlands through
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to the Far East. During his time in Amsterdam he helped supervise the building of the ship that would transport the
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depicts a specific plague that according to Christian sources took place in Rome in 361–63 during the reign of
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While in Rome Sweerts became linked to the group of Dutch and Flemish painters of low-life scenes known as the
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The Deutz Brothers, Italian Paintings and Michiel Sweerts: New Information from Elisabeth Coymans's "Journael"
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Franco Mormando, "Pestilence, Apostasy, and Heresy in Seventeenth-Century Rome: Deciphering Michael Sweerts'
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371:. He then travelled on to the Portuguese Jesuits in Goa where he is reported to have died at the age of 46.
241:, another Flemish painter from Brussels who spent time in Rome where he was influenced by the Bamboccianti.
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798:(Private collection) in which Sweerts portrayed a soldier plundering a violin, paintings and sculpture.
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from where his ship left for Palestine in January 1662. Sweerts sailed for Alexandretta with bishop
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Everett Fahy, Jayne Wrightsman, 'The Wrightsman Pictures', Metropolitan Museum of Art, 2005, p. 128
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and committed to proselytizing in the East. He was a lay brother and became a devout Christian. A
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in the 1560s. Sweerts succeeded in making these subjects look freshly observed. An example is the
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Jonathan Bikker, "Sweerts' Life and Career: A Documentary View," in 'Guido Jansen, et al., ed.,
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Very few drawings have been attributed with certainty to Sweerts. A portrait in black chalk of
745:(Every man must give an accounting). This allegorical strain is characteristic of Sweerts' art.
1126:, in: Simiolus: Netherlands Quarterly for the History of Art Vol. 26, No. 4 (1998), pp. 277-311
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In another self-portrait, probably painted about 1655, the artist points to a skull as a
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Michael Sweerts (1618-1664): Shaping the Artist and the Academy in Rome and Brussels,
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1034:, Philadelphia Museum of Art; Museum of Fine Arts, Houston, 2000, pp. 236–237
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period, who is known for his allegorical and genre paintings, portraits and
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Sweerts developed new themes such as that of the Roman wrestlers. In his
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A Family Tradition Confirmed: Sweerts’s Portrait of Anthonij de Bordes
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His subject matter is close to that of Dutch genre painters such as
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Sweerts painted more compositions depicting male nudes such as the
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Lord Fitzwilliam's album of prints by Michiel Sweerts (1624-1664)
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styles as well as blended Baroque and classicist tendencies.
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Michael Sweerts, Boy Copying the Head of a Roman Emperor
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Another painting that doubles as a self-portrait is the
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Drawn from the Antique: Artists and the Classical Ideal
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The majority of his output falls into two categories: '
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Art and Conflict – M-Museum in Leuven Presents Ravaged
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De kaartspelers, Michael Sweerts, ca. 1646 - ca. 1652
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Life of Michiel Sweerts (Brussels, 1624 -Goa, 1664)
133:. The artist led an itinerant life and worked in
537:art education at academies in Rome and Brussels.
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1392:Piety and Plague: From Byzantium to the Baroque,
727:reminder. Another presumed self-portrait is the
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230:Congregazione Artistica dei Virtuosi al Pantheon
1325:Dutch and Flemish paintings from the Hermitage
1252:Walter A. Liedtke, Michiel Plomp, Axel RĂĽger,
992:Portrait of a young man playing a hunting horn
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121:(29 September 1618 – 1 June 1664) was a
291:Return to Brussels and residence in Amsterdam
1230:De geschilderde geheimen van Michael Sweerts
1147:in: Rijksmuseum Kunstkrant maart/april 2002
1137:De geschilderde geheimen van Michael Sweerts
1100:, Sir John Soane’s Museum 2015, pp. 134–139
1292:Additions to the Oeuvre of Michael Sweerts
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910:Michiel Sweerts (Brussels 1618-1664 Goa),
860:Diversae facies in usum iuvenum et aliorum
469:A man delousing himself and a sleeping boy
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16:Flemish painter and printmaker (1618–1664)
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1402:Turnhout, Brepols, 2015, pp.84-87.
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819:Los Angeles County Museum of Art
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276:Portrait of Man with a Red Cloak
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253:, the nephew of the reigning
1346:at Allen Memorial Art Museum
1254:Vermeer and the Delft School
1240:, 31 May 2008 at artwis.com
912:A lady sewing in an interior
461:To give drink to the thirsty
175:Michiel Sweerts was born in
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249:, and in particular Prince
171:Early life and stay in Rome
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1311:Metropolitan Museum of Art
1182:, posted on 19 August 2013
1111:Michael Sweerts: 1618–1664
1084:, posted on 19 August 2013
761:Penitent reading in a room
686:Metropolitan Museum of Art
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1477:Flemish portrait painters
1414:at the Fitzwilliam Museum
1388:Plague in an Ancient City
1016:Thyssen-Bornemisza Museum
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844:Plague in an Ancient City
814:Plague in an Ancient City
806:Plague in an Ancient City
710:Allen Memorial Art Museum
653:Girl with a Pearl Earring
647:Portrait of a young woman
568:Detroit Institute of Arts
389:Portrait of a young woman
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1167:at the Kremer Collection
1050:, accessed 15 March 2016
795:Mars Destroying the Arts
676:Pieter Bruegel the Elder
1426:at the National Gallery
1048:National Gallery of Art
937:"Malcom R. Waddingham,
882:National Gallery of Art
730:Portrait of a young man
665:Portrait of a young man
612:National Gallery of Art
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347:and then further East.
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1487:Painters from Brussels
1482:Flemish genre painters
1377:in the London Magazine
1143:18 August 2017 at the
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1236:31 March 2016 at the
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743:RATIO QUIQUE REDDENDA
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1448:at Wikimedia Commons
1396:Lara Yeager-Crasselt
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1274:9 April 2016 at the
1044:Biographical details
811:Sweerts' monumental
629:J. Paul Getty Museum
310:he joined the local
263:Gian Lorenzo Bernini
1266:Guido M.C. Jansen,
1210:at the Rijksmuseum
753:Mars destroying art
489:Seven Acts of Mercy
485:Seven Acts of Mercy
437:. Examples are the
341:Missions Étrangères
337:Missions Étrangères
320:Missions Étrangères
312:Guild of Saint Luke
267:Francesco Borromini
259:Cavaliere di Cristo
1002:at Galerie Canesso
864:Fitzwilliam Museum
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596:Clothing the naked
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1356:Michael Sweerts,
1306:Man Holding a Jug
1304:Michiel Sweerts,
1122:Jonathan Bikker,
990:Michiel Sweerts,
877:Jan van den Enden
681:Man holding a jug
639:Man holding a jug
621:and Vermeer. His
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838:The art scholar
718:Anthony van Dyck
602:Johannes Vermeer
553:Painter's studio
440:Draughts players
251:Camillo Pamphilj
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823:Nicolas Poussin
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624:Head of a Woman
619:Pieter de Hooch
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582:Head of a woman
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508:Wrestling match
500:Wrestling match
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324:Vincent de Paul
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255:Pope Innocent X
247:Pamphili family
209:Double portrait
195:Pieter van Laer
188:Draught players
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119:Michael Sweerts
115:Michiel Sweerts
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159:Bamboccianti
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72:(1664-06-01)
37:
18:
1467:1664 deaths
1462:1618 births
785:are in the
714:Iconography
627:(ca. 1654,
521:Bathing men
478:chiaroscuro
474:Mauritshuis
451:Rijksmuseum
415:Lamentation
300:Bathing men
149:and India (
85:Nationality
70:1 June 1664
1456:Categories
1242:(in Dutch)
1212:(in Dutch)
1197:(in Dutch)
1149:(in Dutch)
976:(in Dutch)
888:References
880:(c. 1651,
739:pensieroso
357:Marseilles
285:grand tour
279:(c. 1650,
52:1618-09-29
735:Hermitage
708:of 1656 (
423:tenebrist
223:) of the
221:aggregato
143:Amsterdam
1272:Archived
1234:Archived
1141:Archived
996:Archived
951:20 March
870:Drawings
443:and the
308:Brussels
235:Virtuosi
177:Brussels
139:Brussels
103:Movement
97:Painting
60:Brussels
40:, c.1660
1309:at the
1046:at the
1014:at the
971:at the
782:Feeling
733:(1656,
725:vanitas
593:In his
566:(1652,
511:(1649,
410:tronies
380:General
328:Lazarus
131:tronies
127:Baroque
123:Flemish
107:Baroque
88:Flemish
854:Prints
697:Uffizi
369:Persia
365:Tabriz
147:Persia
776:Smell
953:2016
779:and
702:His
644:His
550:His
375:Work
265:and
166:Life
135:Rome
67:Died
46:Born
1390:in
716:of
367:in
343:to
153:).
151:Goa
117:or
78:Goa
1458::
1398:,
1317:^
1283:^
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955:.
941:"
684:(
610:(
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54:)
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