Depictions of landscape by Pieter van Laer, also called Bamboccio : Sources of his style and human relations

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  • ピーテル・ファン・ラール(通称バンボッチョ)の風景表現 : その様式の源泉と人的交流
  • ピーテル ・ ファン ・ ラール(ツウショウ バンボッチョ)ノ フウケイ ヒョウゲン : ソノ ヨウシキ ノ ゲンセン ト ジンテキ コウリュウ

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In early seventeenth-century Rome, Pieter van Laer, alias Bamboccio (1599-1642?), painted small-scale pictures of popular life of the city and its environs in a naturalistic manner. His style and subject matter attracted many followers, who became known as the Bamboccianti. In recent decades, the idea that van Laer's works were literal transcriptions of reality--that is, biased toward realism--has been modified. Scholars now treat his works within the broader context of contemporary developments in Italian art. Above all, it is notable that Bamboccio studied the new representations of landscape on which his colleagues had been working and adopted aspects of their style in his own paintings. This fact was already mentioned in contemporary literature by the Northerners. In particular, van Laer's representations of landscape, such as Campagna bathed in sunlight and changing every moment of the day, reveal that the innovations of Adam Elsheimer (1578-1610) and Claude Lorrain (1604/5?-82) greatly influenced him. However, former studies have focused on van Laer's artistic connections rather than his social relations in daily life. Van Laer must have been acquainted with the Elsheimer's successors, Claude himself, and other landscape painters in two key ways: (1) he was a member of the Schildersbent, which was a confraternity of Dutch and Flemish artists living in Rome, and (2) he lived on the Via Margutta in the parish of Basilica di Santa Maria del Popolo. Everyday contact with these painters played a decisive role in the development of van Laer's representations of landscape. As soon as Bamboccio arrived in Rome in 1625/26, he joined the Schildersbent and lived on the Via Margutta with his compatriots for the rest of his stay in the city.

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