His influence was fatal
upon his followers, of whom there were many, like the Franckens and De
Vos. Italy and Roman methods, models, architecture, subjects, began to
rule everywhere.
From Brussels Barent van Orley (1491?-1542) left early for Italy, and
became essentially Italian, though retaining some Flemish color. He
painted in oil, tempera, and for glass, and is supposed to have gained
his brilliant colors by using a gilt ground. His early works remind
one of David. Cocxie (1499-1592), the Flemish Raphael, was but an
indifferent imitator of the Italian Raphael. At Liege the Romanists,
so called, began with Lambert Lombard (1505-1566), of whose work
nothing authentic remains except drawings. At Bruges Peeter Pourbus
(1510?-1584) was about the last one of the good portrait-painters of
the time. Another excellent portrait-painter, a pupil of Scorel, was
Antonio Moro (1512?-1578?). He had much dignity, force, and
elaborateness of costume, and stood quite by himself. There were other
painters of the time who were born or trained in Flanders, and yet
became so naturalized in other countries that in their work they do
not belong to Flanders.
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