Martin, Andreas
7.300 €

A Flemish summer landscape
Oil on panel : 31,8 X 45,7 cm
Unsigned
Frame : 45,0 X 58,6 cm

In short
 
Andreas Martin was influenced by Jan Brueghel I (Brussels 1568 – 1625 Antwerp) in his bucolic landscapes full of happiness. He studied painting and remained in Antwerp until circa 1735, when he returned to Brussels, where he painted for members of the nobility and for high officials of the central government of the city.
 
Typical of Martin is the inclusion of a country house, which must have belonged to one of his rich clients.
 
About Andreas Martin
 
Flemish painter
Brussels circa 1699 – 1763 Brussels
 
Painter of typical Flemish landscapes and of genre scenes, influenced by Jan Brueghel I (Brussels 1568 – 1625 Antwerp).
 
Both his father and his brother were tailors.
 
Andreas Martin must have been active in Antwerp circa 1715 – 1735. He became a Master in the local Painters’ Guild in 1721.
 
He returned to his birthplace Brussels, where he painted for members of the nobility and for high officials of the central government of the city: the governor of the Austrian Netherlands, Prince Charles Alexander of Lorraine, the prince de Rubempré, the municipal councillors Nicolas Grimbergs and J.L. Krafft, and the vicar J. van den Bloke.
 
Martin’s house in the St Anne Street in Brussels also served as his workshop, gallery and bookshop.
He stayed single for most of his life. He only married in 1754.
 
His paintings, which are regularly not signed, are often wrongly attributed to better known followers of Jan Brueghel the Elder, such as Theobald Michau, Mathijs Schoevaerdts or to members of the van Bredael family.
 
Martin was  buried in the churchyard of the St. Michael and Gudula Cathedral of Brussels.
 
About the followers of Jan Brueghel I
 
During the late 17th century and the first half of the 18th century there was a revival of the elder style of landscape painting. 
Inspired by Jan Brueghel the Elder (Brussels 1568 – 1625 Antwerp) younger generations of Flemish painters respectfully painted very attractive landscapes with peasant scenes in fresh colours. Typical of all of them is a bucolic sense of happiness, of “joie de vivre”, with small figures in anecdotally detailed poses set against a backdrop of a pleasing landscape or of some buildings.
 
Best known are:
His son Jan Brueghel II (Antwerp 1601 – 1678 Antwerp)
Isaac van Oosten (Antwerp 1613 – 1661 Antwerp) 
Pieter Gysels (Antwerp 1621 – 1690 Antwerp), 
Adriaen Frans Boudewijns (Brussels 1644 – 1711 Brussels)
Peter Bout (Brussels 1658 or earlier – 1719 Brussels) 
Matthijs Schoevaerdts (Brussels? Circa 1660/65 – 1702/12 Brussels?)
Elisabeth Seldron (Born circa 1675 – 1761 Brussels)
Theobald Michau (Tournai 1676 – 1765 Antwerp)
Joseph van Bredael (Antwerp 1688 – 1739 Paris)
Carel Beschey (Antwerp 1706 – 1776? Antwerp?)
Balthasar Beschey (Antwerp 1708 – 1776 Antwerp). 
 
About the historical background of the 18th century in Flanders
 
Flanders belonged since 1556 to the Spanish Habsburg empire. After the last Spanish Habsburg king, Charles II, died childless in 1700, both the French Bourbons and the Austrian Habsburgs claimed the throne. When Spain fell into French hands many European states were afraid that King Louis XIV of France would become too powerful. This lead to
 the War of the Spanish Succession (1701 – 1714) which was fought in Southern and Central Europe. The War opposed France, Spain and Bavaria against Austria, the Dutch Republic, Great Britain, Prussia, Savoy and Portugal.
The outcome of several peace treaties was that Spain became independent again, loosing Flanders and most of its territories in Italy to the Austrian Habsburg.
 
Flanders remained Austrian from 1715 until 1795. It served as a buffer between France and the Dutch Republic.
 
Why should you buy this painting?
 
Because it is a good example example of an 18th century bucolic landscape in the tradition of Jan Brueghel the Elder.
As usually the foreground is anecdotic while the background opens unto a wide landscape.
Typical of Martin is the inclusion, here in the centre of the composition, of a country house, which must have belonged to one of his rich clients.
Comparative paintings
Click photos for more details