218:(1609–64) is often credited as being the first artist to produce monotypes. He made brushed sketches intended as finished and final works of art. He began to make monotypes in the mid-1640s, normally working from black to white, and produced over twenty surviving ones, over half of which are set at night. It is believed that Sallaert created his first monotypes in the early 1640s and is therefore to be regarded as the inventor of this printing process. Both artists used the new technique in different ways. Castiglione created most of his monotypes as black-field images by wiping away ink on a prepared plate thus producing white and grey lines. Sallaert, on the other hand, brushed bold, tapering lines onto the printing surface with meticulous precision. It is likely that Sallaert's monotype style was influenced by the
124:
204:
173:
22:
76:
252:
226:. Sallaert found in the monotype a technique which was the closest to drawing and oil sketching. His monotypes and drawings are characterised by swelling lines and tapering ends. He often added by hand white highlights to his monotypes. There is a clear economy of line in his drawings and monotypes when compared to his woodcuts and etchings. Sallaert clearly appreciated in the monotype technique the freedom to design on a plate before printing it on paper.
566:
242:
and woodcut book illustrations designed by
Sallaert. This attests to Sallaert's close links with artistic circles in Antwerp. Examples of publications on which he worked were the "Perpetua Crux sive Passio Jesu Christi", written by the Jesuit Jodocus Andries. The book was first published in 1649 in
199:
which shows his nimble yet forceful linework. Through the contrast between bright, untreated surfaces and dense patches of black
Sallaert creates dramatic light effects. A few lines and dark splashes of colour are sufficient in this woodcut for Sallaert to give a strong character to the faces, bodies
192:
It is primarily in his prints and print designs that Antoon
Sallaert proved himself to be one of the most original artists on the Flemish art scene during the Rubens era. He only made a few etchings. About 12 woodcuts are ascribed to Sallaert, some of which are book illustrations. He created about
299:
workshops to hire non-local artists. This clearly showed a protectionist reflex to
Jordaens' involvement in the Brussels tapestry industry. In 1645, only a few months before Sallaert filed his tax relief application, the Brussels tapestry maker Boudewijn van Beveren had hung a cartoon of Jordaens'
159:
Sallaert's painting style is characterized by its nervous brushstrokes, lively outlines and expressive distortion of the composition and figures. He often used foreshortening as a dramatic effect. His early compositions dating to before 1635 have a strong monumentality and plasticity through light
168:
Sallaert was in the first place a very accomplished draftsman, particularly in the technique of ink on paper. Like Rubens, he was a master of the oil sketch. Despite a certain dependence on Rubens, his oil sketches have a very personal approach and style. The use of a reddish-brown background tone
298:
In 1646 Sallaert was granted tax relief by the
Brussels city government in recognition of his contribution to the tapestry industry. Sallaert had stressed in his application for tax relief the fact that his introduction of a new style in Brussels tapestry design made it unnecessary for the local
303:
in the church of St
Catherine. This had likely bruised Sallaert's ego. Sallaert's tapestry designs included adaptations of 16th-century cartoons. Like other contemporary tapestry designers, Sallaert developed a mixture of traditional 16th-century and new 17th-century styles thus blending
95:
in 1633 and in 1648. He received irregular commissions from local nobles and produced religious compositions for the Jesuit churches in and around
Brussels. He provided designs for tapestries to the local tapstry workshops. In 1647 he accepted a large commission from the clergy of the
131:
Sallaert was a versatile artist who worked in various genres and media. He painted religious as well a mythological subjects and was also a portrait painter. He was a regular contributor of designs for local publications and produced many
136:. He further designed cartoons for the local weaving workshops. Sallaert was known in his time as an accomplished draughtsman and it is possible that his paintings and drawings have been attributed to other artists such as Rubens or
164:
who resided in
Brussels from whom he learned the style. He created ambitious figure compositions and portraits in the Rubens manner. His later works became more dramatic and his style had an almost calligraphic and mannered quality.
193:
11 monotypes. In his prints, especially the woodcuts and monotypes, have a clear experimental character. As
Sallaert's etchings and woodcuts are very rare, the editions were likely rather small. An example of his woodcuts is
200:
and garments. The work has an unconventional, even modern outlook. Sallaert's formal language sometimes borders on the caricature and his use of a rare, tinted paper accentuates the experimental character of his woodcuts.
329:
Sallaert's year of birth is usually given as between 1580 and 1590, but as early as 1968 it was demonstrated that
Sallaert was baptised in 1594; R. d'Anethan: 'Les Salaert dits de Doncker', Brabantica 9 (1968), p.
229:
Sallaert played an important role as provider of designs and prints to the publishers in Antwerp and Brussels. His print designs outnumbered the number of prints made by himself. The Antwerp engravers
532:
Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art (New York, N.Y.), Metropolitan Museum of Art, 1 January 2007
502:
194:
554:
Koenraad Brosens and Veerle de Laet, 'Matthijs Roelandts, Joris Leemans and Lanceloot Lefebure: new data on Baroque tapestry in Brussels' in: The Burlington Magazine, vol. CLI, June 2009
160:
effects. while there usually is a group of figures. These early works followed the style of Rubens' works of c. 1610–20, although it may have been the work of
243:
Antwerp by Cornelis Woons and frequently re-published between 1649 and 1721. The 40 illustrations were cut by Christoffel Jegher after designs by Sallaert.
271:, which had a moralising intent. The cartoons for the Cupid series can be dated approximately between 1628 and 1639. The series of seven tapestries of the
110:
Sallaert married Anna Verbruggen. Their son Jan Baptist Sallaert (baptized on 14 February 1612) trained with his father and became a painter.
72:
or worked in the workshop of Rubens. There does not appear to be evidence for this, although some of his works are close in style to Rubens.
443:
100:
to paint a series of 11 compositions on the history of the church. The last recorded payment he received for the commission dates to 1649.
64:
Antoon Sallaert was a pupil of the Brussels painter Michel de Bordeaux starting from 1606. He was registered as a master in the Brussels
425:
394:
88:
49:
458:
123:
602:
607:
597:
592:
478:
346:
Hans Vlieghe. "Sallaert, Anthonis." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 10 March 2016
203:
52:
as well as for the local churches. Sallaert was an innovative printmaker and is credited with the invention of the
570:
627:
84:
45:
622:
215:
172:
523:
Guy Delmarcel, 'Flemish Tapestry from the 15th to the 18th Century', Lannoo Uitgeverij, 1 Jan 1999, p. 240
259:
Antoon Sallaert was a prominent designer of tapestries. Some of the tapestry series he worked on were
231:
214:
There is still no certainty as to who was the inventor of the monotype process. The Italian artist
21:
75:
91:
but he was never listed as an official court painter. Sallaert was the deacon of the Brussels
408:
617:
612:
503:
Perpetua Crux sive Passio Jesu Christi, Plate 1. Jesus Christ kneeling and holding a cross
8:
576:
92:
65:
251:
284:
235:
473:
Prints and Printmaking, Antony Griffiths, British Museum Press (in UK), 2nd ed., 1996
474:
239:
69:
446:
An Exhibition of the Finest Monotypes from the Cleveland Museum of Art's Collection
223:
181:
161:
56:
technique. He was an important tapestry designer for the local weaving workshops.
44:. Sallaert produced many devotional paintings for the Brussels court of Archdukes
41:
37:
137:
586:
276:
104:
219:
83:
In the 1620s and 1630s Sallaert received commissions from the Archdukes
390:
97:
180:
Sallaert painted multiple portraits which were compared to those of
133:
53:
565:
378:, in: Print Quarterly Vol. 12, No. 2 (JUNE 1995), p. 164-169
304:
one-dimensional monumentality and three-dimensional depth.
68:
in 1613. Some sources mention that Sallaert was a pupil of
275:
were a reflection on the ages of man and were inspired by
40:
painter, draughtsman and printmaker who was active in
16:
Flemish Baroque painter, draughtsman and printmaker
584:
493:, in: Print Quarterly, 1988, V, n. 1, p. 60-61
461:The four fathers of the church with St Lambert
208:Mythological scene with Neptune and River Gods
287:acquired in 1636 a set of tapestries of the
269:Sapientia or the Powers that rule the World
467:
428:The Evangelist Matthew Writing the Gospel
395:The Netherlands Institute for Art History
196:The Evangelist Matthew Writing the Gospel
176:The evangelist Matthew writing the Gospel
250:
202:
171:
169:was characteristic of his oil sketches.
122:
74:
20:
577:40 plates of Sallaert's wood engravings
585:
439:
437:
370:
368:
366:
364:
362:
360:
358:
356:
354:
352:
342:
340:
338:
336:
421:
419:
417:
386:
384:
320:First name also: Anthoni and Antoine
526:
517:
449:at The Cleveland Museum of Art site
434:
349:
333:
246:
13:
414:
381:
14:
639:
558:
127:Putti with symbols of the Passion
564:
535:
508:
496:
483:
376:Two Early Monotypes by Sallaert
222:woodcuts of the Dutch engraver
459:Antoine Sallaert (1594–1650),
452:
402:
323:
314:
216:Giovanni Benedetto Castiglione
1:
307:
154:
7:
295:after designs by Sallaert.
10:
644:
548:
118:
79:Merry company making music
603:Flemish portrait painters
187:
96:Onze-Lieve-Vrouwekerk of
608:Flemish tapestry artists
598:Flemish history painters
593:Flemish Baroque painters
232:Cornelis Galle the Elder
261:The sufferings of Cupid
113:
59:
25:Crucifixion of St Peter
628:Painters from Brussels
491:A Monotype by Sallaert
256:
211:
177:
143:He used the monograms
128:
80:
26:
623:Artists from Brussels
505:at the British Museum
431:at Nicolaas Teeuwisse
254:
206:
175:
126:
103:He was buried in the
78:
24:
573:at Wikimedia Commons
541:Brosens 2009, p. 366
514:Brosens 2009, p. 363
411:at Vondel Humanities
409:Jan Baptist Sallaert
255:Judgement of Solomon
489:M. Royalton Kisch,
281:Emblemata Horatiana
93:Guild of Saint Luke
66:Guild of Saint Luke
285:Philip II of Spain
257:
236:Christoffel Jegher
212:
178:
129:
107:Brussels in 1650.
81:
36:(1594–1650) was a
27:
569:Media related to
426:Antoon Sallaert,
70:Peter Paul Rubens
34:Anthonis Sallaert
635:
568:
542:
539:
533:
530:
524:
521:
515:
512:
506:
500:
494:
487:
481:
471:
465:
456:
450:
441:
432:
423:
412:
406:
400:
399:
391:Antoine Sallaert
388:
379:
374:Todd D. Weyman,
372:
347:
344:
331:
327:
321:
318:
247:Tapestry designs
224:Hendrik Goltzius
182:Anthony van Dyck
162:Gaspar de Crayer
643:
642:
638:
637:
636:
634:
633:
632:
583:
582:
579:, 17th century.
571:Antoon Sallaert
561:
551:
546:
545:
540:
536:
531:
527:
522:
518:
513:
509:
501:
497:
488:
484:
472:
468:
457:
453:
444:Kelley Notaro,
442:
435:
424:
415:
407:
403:
397:
389:
382:
373:
350:
345:
334:
328:
324:
319:
315:
310:
293:Life of Theseus
265:The life of Man
249:
190:
157:
121:
116:
62:
38:Flemish Baroque
30:Antoon Sallaert
17:
12:
11:
5:
641:
631:
630:
625:
620:
615:
610:
605:
600:
595:
581:
580:
574:
560:
559:External links
557:
556:
555:
550:
547:
544:
543:
534:
525:
516:
507:
495:
482:
466:
451:
433:
413:
401:
380:
348:
332:
322:
312:
311:
309:
306:
248:
245:
189:
186:
156:
153:
138:Jacob Jordaens
120:
117:
115:
112:
61:
58:
15:
9:
6:
4:
3:
2:
640:
629:
626:
624:
621:
619:
616:
614:
611:
609:
606:
604:
601:
599:
596:
594:
591:
590:
588:
578:
575:
572:
567:
563:
562:
553:
552:
538:
529:
520:
511:
504:
499:
492:
486:
480:
479:0-7141-2608-X
476:
470:
463:
462:
455:
448:
447:
440:
438:
430:
429:
422:
420:
418:
410:
405:
396:
392:
387:
385:
377:
371:
369:
367:
365:
363:
361:
359:
357:
355:
353:
343:
341:
339:
337:
326:
317:
313:
305:
302:
296:
294:
290:
286:
282:
278:
277:Otto van Veen
274:
270:
266:
262:
253:
244:
241:
240:frontispieces
238:engraved the
237:
233:
227:
225:
221:
217:
209:
205:
201:
198:
197:
185:
183:
174:
170:
166:
163:
152:
150:
146:
141:
139:
135:
125:
111:
108:
106:
105:Chapel Church
101:
99:
94:
90:
86:
77:
73:
71:
67:
57:
55:
51:
47:
43:
39:
35:
31:
23:
19:
537:
528:
519:
510:
498:
490:
485:
469:
464:at Sotheby's
460:
454:
445:
427:
404:
375:
325:
316:
300:
297:
292:
288:
280:
272:
268:
264:
260:
258:
228:
213:
207:
195:
191:
179:
167:
158:
148:
144:
142:
130:
109:
102:
82:
63:
33:
29:
28:
18:
618:1650 deaths
613:1585 births
289:Life of Man
273:Life of Man
220:chiaroscuro
587:Categories
398:(in Dutch)
308:References
210:, monotype
151:entwined.
155:Paintings
134:monotypes
98:Alsemberg
301:Proverbs
291:and the
279:'s 1607
267:and the
145:ASall f
89:Isabella
54:monotype
50:Isabella
42:Brussels
549:Sources
283:. King
119:General
477:
188:Prints
85:Albert
46:Albert
475:ISBN
234:and
147:and
114:Work
87:and
60:Life
48:and
393:at
330:254
32:or
589::
436:^
416:^
383:^
351:^
335:^
263:,
184:.
149:AS
140:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_-_Crucifixion_of_St_Peter.jpg)
