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demonstrated in the tomb monument of
Archbishop Cruesen. On the right is Christ, a beautiful statue that still literally refers to Rubens while on the left there is the statue of Chronos, or Time (referring to Death), which is a very personal creation of Faydherbe. Chronos is depicted as an old man with his clothes tightly draped around his body which emphasizes the verticality of the statue. The head is slightly turned and creates a particularly expressive tension without the artist having to rely on grand gestures or facial expressions. This statue of Chronos shows a characteristic aspect of Faydherbe's style which relied more on verticality in contrast to the broad and voluminous forms related to Rubens' style. This type of the old man was used by Faydherbe repeatedly.
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this, the client ordered the immediate demolition. The rising costs and the mutual distrust caused delays in the work, so that the construction of the church ultimately lasted five years longer than expected. Despite his lack of technical and financial insight Lucas
Faydherbe had managed to create a new architectural language in this church which strongly contrasted with the contemporary, "bombastic" Baroque.
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184:, an enormous privilege given the hundreds of applicants for a limited number of places. After three years, he unexpectedly left Rubens' workshop to marry Maria Snyers who was expecting his child. He was also forced to abandon his plans to travel to Italy. Faydherbe returned to his hometown Mechelen where, thanks to the intercession of Rubens, he was quickly accepted as a master in the local
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expressiveness. His work during this period succeeded in portraying persons in a more humane and psychologically sensitive manner. During this period he made mainly sculptures of men and he created a representational type, which is characterized by its broad and powerful conception without, however, becoming very monumental.
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individual architectural elements by an artwork that united sculpture and painting into an harmonic ensemble. Rubens, the leading
Baroque painter in Flanders, also subscribed to the idea of the unity of the arts of sculpture and painting and this is the reason of his association with sculptors such as
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Faydherbe took on the design of the Church of Our Lady of
Leliendaal in 1662. It was the first major design commission that he undertook by himself. The design provided for simple solid masonry for the exterior walls, built with brick with bands of white stone. Only the façade on the east side was to
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was recognised as a talented sculptor. Faydherbe's father ran a workshop for decorative sculpture and alabaster carving. Here Lucas learned the basics of sculpture. His father died when Lucas was twelve years old. His mother remarried with the sculptor
Maximilian Labbé a year later. Lucas continued
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The designs for this church contained many miscalculations, causing the weight of the dome to be too much for the pillars. The substrate was made up of two curved arc galleries, one on either side of the longitudinal axis. To address the weight problems, various anchors and iron bands were applied.
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columns only the middle one kept its originally designed appearance. The other four were connected to one another in pairs by three steel rods that were riveted with clamps around the shafts of the columns. To conceal these constructive interventions the arch openings of these bays were partially
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Lucas
Faydherbe began working as an architect late in his career and without formal training. He had by then gained practical experience on various construction sites where he had worked as a sculptor. This was the case in the Church of the Beguinage in Mechelen, for which he is often erroneously
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Faydherbe's early work following his return to
Mechelen in 1640 showed a strong influence from Rubens. During this early period he created some large sculptures for churches in Mechelen and Brussels. The statues are characterized by a somewhat solemn monumentality: heavy draperies with a few but
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The construction work ran into various problems and there were multiple disputes with the client over quality and design issues. This latent conflict reached its peak in May 1664, when it was determined that the facade was slanted. Although the architect formulated various proposals to camouflage
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Between 1648 and 1654 Faydherbe was commissioned to build eight baroque altars and in the 1660s and 1680s he received five more commissions. The altars show an evolution that is fully in line with the development of his sculpture: an increasing austerity, simpler verticality, a clearer and more
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had returned to work in
Flanders in the 1640s and realized many projects that introduced the classicizing Baroque style developed by François Duquesnoy. They revolutionized the role of the sculptor from that of an ornamentalist to that of an independent creator of art works that replaced the
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During
Faydherbe's final stylistic phase, which started around 1655, his talents reached their peak. This expressed itself, among other things, in his creation of two new types of statues and in the soulful depiction of the male figure. In the St. Rumbold's Cathedral in Mechelen each type is
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Faydherbe is regarded as an accomplished designer of town houses. His designs had an important influence on the design of the facades of town houses in
Mechelen in the second half of the 17th century. The St. Joseph house in Mechelen is an example of his work that has survived to this day.
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Faydherbe quickly became an artist in demand and he worked on many commissions. During his second style period (roughly between 1645 and 1655) he developed a more personal expression. His work became more plastic and was characterized by a richer and more refined design and an increased
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demanded that artists created paintings and sculptures in church contexts that would speak to the illiterate rather than to the well-informed. The Contrareformation stressed certain points of religious doctrine, as a result of which certain church furniture, such as the
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of c. 1675, in the Rockoxhuis in Antwerp. The statue has a flowing movement and the expressions of the faces are very natural and human as if representing a real life mother enjoying the company of her child. This statue shares many similarities with the statue of
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had to abandon the project for health reasons in 1645. The relief of God the Father (1646-1647) on the pediment is attributed to him. Other projects in which he gained important experience as an architect are the design of the St. Ursula Chapel in the
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in Mechelen. They visualize in a narrative manner an important religious event by integrating them into the concrete world of the believer. Another relief is placed on the facade of the Church of the Beguinage in Mechelen.
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Faydherbe started his career at a crucial moment in the history of Flemish sculpture. In the first place, there was the religious context. The churches in Flanders had been emptied of their decorations by the
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His family expanded to twelve children. His son Jan-Lucas became a sculptor like his father and assisted him on various commissions. His daughther Anna Barbara married on 24 June 1666 the Brussels sculptor
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Faydherbe made several tomb monuments, including the already mentioned tomb of Archbishop Cruesen, the tomb of Jehan de Marchin and his first wife Jeanne de la Vaulx-Renard in the Saint Martin Church of
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Ed. by Jan de Jong, Bart Ramakers, Frits Scholten, Mariët Westermann and Joanna Wooddall (Netherlands Yearbook for History of Art/ Nederlands Kunsthistorisch Jaarboek, vol. 55, 2004). Zwolle: Waanders,
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Faydherbe often collaborated with other sculptors in the execution of large-scale religious projects. For instance on the various projects he undertook in the St Rumbold's Cathedral in Mechelen,
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large folds that completely hide the body, with little detail and almost no differentiation in the representation of the different substances. A typical example is the statue of
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filled with stucco and decorative sculpture. As the original plans had to be adjusted several times to correct the errors, the proportions of the church are not perfect.
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In his design for the Basilica of Our Lady of Hanswijk, Faydherbe introduced an important innovation. He was one of the first Flemish architects to reject the
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Faydherbe created a number of reliefs. He made two reliefs on the Adoration of the Shepherds and the Carrying of the Cross for the dome of the
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Faydherbe remained in his architectural design, as in his sculpture, faithful to the prevailing Baroque rather than follow the trend towards
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gained an increased importance. These developments caused a sharp increase in the demand for religious sculpture. Secondly, the sculptors
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Bellissimi ingegni, grandissimo splendore : studies over de religieuze architectuur in de Zuidelijke Nederlanden tijdens de 17de eeuw
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Faydherbe's oeuvre includes a number of terracotta pieces comprising eight busts of mythological figures, one portrait bust of
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design for churches that was common in his day. He adopted instead the concept of the central-plan church with a dome.
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and his second wife Cornelia Franchoys. His mother came from an artist family: her father was the successful painter
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Thanks to his training under Rubens, Faydherbe had learned to assimilate and translate Rubens' style into sculpture.
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Rubens: A Genius at Work: the Works of Peter Paul Rubens in the Royal Museums of Fine Arts of Belgium Reconsidered
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attributed the role of architect. He did continue the work on the interior of that church after architect
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in the same church and as a consultant on structural problems in the crossing of St. Michael's Church in
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The second type of statue that Faydherbe created in his final period is exemplified by the statue of the
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Tomb monument of Jehan de Marchin and his first wife Jeanne de la Vaulx-Renard in the church of Modave
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Faydherbe's earliest known works are ivory sculptures that he made under Rubens' guidance such as
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and the tomb of Gilles Othon and his second wife Jacqueline de Lalang in the St. Martin Church in
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1034:"Baroque / Barok - Parcours, p. 15: Church of St John the Baptist of the Beguinage, 1657-1672"
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The two principal architectural designs realized by Faydherbe in Mechelen are the churches of
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Arnout Balis, 'Rubens and his Studio: Defining the Problem', in: Joost vander Auwera,
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Dictionnaire biographique des sciences, des lettres et des arts en Belgique Volume I
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have any decoration in the form of figurative sculpture and architectural elements.
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When he was nineteen years old he was accepted as an apprentice in the workshop of
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Funeral monument of archbishop Andreas Creusen, St. Rumbold's Cathedral, Mechelen
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 13 March 2014
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 18 March 2014
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geometric language and a reduced use of capricious, spiral decorative elements.
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Lucas Faydherbe : Mechels beeldhouwer & architect : 1617 - 1697;
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 June 2023
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by Erfgoed Koning Boudewijnstichting - Patrimoine Fondation Roi Baudouin, 2013
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Christ Carrying the Cross, detail of relief in Basilica of Our Lady of Hanswijk
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Fiona Healy, review of "Rubens and the Netherlands/ Rubens en de Nederlanden.
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in Brussels. This church is characterized by its very exuberant facade.
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Church of Our Lady of the Rich Clares (Notre-Dame of the Rich Clares),
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Faydherbe's wife died in 1693, and he himself three years after that.
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Main altar of the Church of the Ascension of Our Lady, Watervliet,
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Madonna and child, 1675, Our Lady over the Dijle Church, Mechelen
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assisted him with the painted wood and stone main altar.
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De Inventaris van het Onroerend Erfgoed: Lucas Faydherbe
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who played a major role in the development of the High
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Lucas Faydherbe: Beeldhouwer en Bouwmeester 1617-1697
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Seventeenth-Century Flemish and German Art - May 2000
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were also accomplished painters. His father's sister
227:assisted him on the funeral monument of Archbishop
1082:(in Dutch). Mechelen: Stedelijke Musea Mechelen.
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593:Main altar of St. Rumbold's Cathedral, Mechelen
1008:"Basiliek van Onze-Lieve-Vrouw van Hanswijk"
373:in the St. Rumbold's Cathedral in Mechelen.
820:Cynthia Lawrence. "Boeckstuyns, Jan-Frans."
1111:: CS1 maint: location missing publisher (
760:Cynthia Lawrence. "Beveren, Mattheus van."
625:Church of Our Lady of Leliendaal, Mechelen
556:Faydherbe is the presumed designer of the
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1063:(in Dutch). Leuven: Univ. Pers Leuven.
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605:in the burial chapel of Rubens in the
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875:Iris Kockelbergh. "Faydherbe, Lucas."
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353:Madonna with the infant Jesus
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38:Portrait of Lucas Faydherbe
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957:(in Dutch). Archived from
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607:St. James' Church, Antwerp
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162:his training under Labbé.
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1124:(in Dutch). De Sikkel.
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1101:(in French). Brussels.
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247:Jan Frans Boeckstuyns
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833:"Valérie Herremans,
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302:Johannes van Mildert
233:Mattheus van Beveren
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1053:Bibliography
1038:. Retrieved
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959:the original
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841:the original
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649:(attributed)
613:Architecture
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544:Of the five
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69:(1697-12-31)
37:
18:
1178:1697 deaths
1173:1617 births
1018:27 December
992:27 December
965:27 December
720:LĂ©on Lock,
564:Town houses
434:Rijksmuseum
424:Terracottas
306:Georg Petel
269:iconoclasts
76:Nationality
1152:Categories
1014:(in Dutch)
988:(in Dutch)
807:(in Dutch)
796:(in Dutch)
749:(in Dutch)
734:(in Dutch)
696:(in Dutch)
675:(in Dutch)
654:References
639:, Brussels
503:Leliëndaal
491:classicism
418:Trazegnies
325:St. Andrew
194:Oudenaarde
55:1617-01-19
1107:cite book
940:on flickr
578:Sculpture
262:Sculpture
127:architect
898:19 March
847:19 March
726:Archived
647:Brussels
631:Brussels
589:Mechelen
538:basilica
507:Hanswijk
497:Churches
190:Brussels
123:sculptor
116:Mechelen
94:Movement
1040:17 July
691:at the
386:Reliefs
339:Omphale
182:Antwerp
131:Baroque
120:Flemish
97:Baroque
80:Flemish
1086:
1067:
484:Leuven
414:Modave
377:Altars
659:Notes
546:Doric
444:Ivory
438:putti
155:Peter
151:Lucas
1113:link
1084:ISBN
1065:ISBN
1042:2011
1020:2011
994:2011
967:2011
900:2014
865:2006
849:2014
505:and
293:Rome
287:and
257:Work
249:and
153:and
137:Life
125:and
64:Died
49:Born
327:in
180:in
114:) (
40:by
1154::
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53:(
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