| Abstract |
This dissertation focuses on the materials and techniques used by the Brussels artists Michael Sweerts (1618-1664) and Michaelina Wautier (1614-1689). It tries to answer the following research questions: 1.Did 17th-century Brussels-based artists use idiosyncratic painting materials and techniques, and can their work be distinguished from paintings created in other artistic centers based on these materials and techniques? 2.How did Sweerts and Wautier influence each other’s work? In order to answer the research questions, a selection of relevant and representative paintings from Sweerts’ and Wautier’s oeuvre has been studied with MA-XRF scanning and microscopic examination. The results are discussed in volume 2 of this dissertation, and form the basis upon which the chapters in volume 1 are built. MA-XRF scanning is a non-destructive imaging technique based on the technique of X-ray fluorescence (XRF). The technique allows for the collection of elemental information about the materials present in a work of art. The work presented in this dissertation has shed more light on the working methods of Sweerts and Wautier. It has shown they both showed an openness and willingness to continue learning and developing as an artist. Wautier did not feel constrained to work only in one genre and apparently carried on developing her skills throughout her career, as evidenced by Flower Garland with Butterfly. She might have trained with a specialized artist to master their idiosyncratic working methods and this diverse genre. This suggests that Wautier had an interest in art education. Sweerts too had a passion for art education: he was involved in the drawing academy of Camillo Pamphilj in Rome, and later established his own academy for life drawing in Brussels. Sweerts’ work clearly shows the influence of his Italian contemporaries. Whilst living in Rome, he adapted his working methods to local customs such as working on brightly colored grounds. Wautier’s oeuvre shows that she was open to explore different genres and that she took inspiration from her contemporaries, including Theodoor van Loon and Daniël Seghers. In doing so, she furthered the development of different genres as she added original elements to her compositions. It is the conclusion of this dissertation that Michaelina Wautier can thus be considered one of the innovative artists of mid-17th-century Flemish painting, who inspired other artists in the Low Countries, including Michael Sweerts. |
