يواخيم پاتينير

تعميد المسيح، زيت على بلوط، 59.5 × 77 سم، متحف تاريخ الفن، ڤيينا

Landscape with Charon Crossing the Styx, oil on panel, 64 × 103 cm (25.2 × 40.6 in), Prado Museum, Madrid

يواخيم پاتينير Joachim Patinir ، ويُكتَب أيضاً پاتنير Patenier (ح. 1480 – 5 أكتوبر 1524)، كان رسام فلمنكي في عصر النهضة لمواضيع التاريخ و المناظر الطبيعية. وكان فلمنكياً، من منطقة والونيا المعاصرة، لكنه عمل في أنتوِرپ، التي كانت حينئذ مركز سوق الفن في البلدان الواطئة. كان پاتينير رائداً في رسم المناظر الطبيعية كصنف فني مستقل وكان أول رسام فلمنكي يعتبر نفسه أساساً رسام مناظر طبيعية. وفعلياً، قام باختراع المناظر الطبيعية العالمية، وهو أسلوب متميز من المناظر الطبيعية في عصر النهضة الشمالي الپانورامي، الذي كان الإسهام الهام لپاتينير في الفن الغربي.

There are only five paintings signed by Patinir, but many other works have been attributed to him or his workshop with varying degrees of probability. The ones that are signed read: (Opus) Joachim D. Patinier, the "D" in his signature signifying Dionantensis ("of Dinant"), reflecting his place of origin. The 2007 exhibition at the Museo del Prado in Madrid contained 21 pictures listed as by Patinir or his workshop, and catalogued a further eight which were not in the exhibition.

Patinir was the friend of not only Dürer, but with Quentin Metsys as well, with whom he often collaborated. The Temptation of St Anthony (Prado) was done in collaboration with Metsys, who added the figures to Patinir's landscape. His career was nearly contemporary with that of the other major pioneer of paintings dominated by landscape, Albrecht Altdorfer, who worked in a very different style. He was probably the uncle of Herri met de Bles, who was his follower in establishing the world landscape.

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 حياته وعمله

منظر طبيعي مع الهروب إلى مصر، زيت على لوح، 17 × 21 سم، المتحف الملكي للفنون الجميلة، أنتوِرپ، بلجيكا

للمزيد من المعلومات: المناظر الطبيعية العالمية

انحدر باتينير في الأصل من دينانت أو Bouvignes في والونيا الحالية، بلجيكا، Patinir became registered as a member of Antwerp's painters' guild Guild of Saint Luke في 1515, where he spent the rest of his life. He may have studied with Gerard David at Bruges, who had been registered as a guild member in the same year as Patinir. In 1511, Patinir is believed to have travelled to Genoa with David and Adrien Ysenbrandt.

In 1521, Patinir's friend Albrecht Dürer attended his second wedding and painted his portrait. Dürer called Patinir "der gute Landschaftsmaler" ("the good painter of landscapes"), thus creating a neologism translated later into the French. Patinir often let his landscapes dwarf his figures, which are of very variable quality. The larger ones were at least sometimes painted by other artists. Such specialisation had become common in the Low Countries at the time. Many of his works are unusually large for Netherlandish panel paintings of the time, as are those of Hieronymus Bosch, another painter of large landscapes, from a generation earlier.

Patinir's immense vistas combine observation of naturalistic detail with lyrical fantasy. The steep outcrops of rocks in his landscapes are more spectacular versions of the group of very individual formations just around his native Dinant; these became a part of the world landscape formula, and are found in the works of many painters who never saw the originals. His landscapes use a high viewpoint with a high horizon, but his grasp of aerial perspective is far from complete. He uses a consistent and effective colour scheme in his landscapes, which was influential on later landscape painting. The foreground is dominated by brownish shades, while "the middle ground [is] a bluish green and the background a pale blue", creating an effective sense of recession into the distance; "When combined with the frequently hard-toned browns, greens and blues that alternate with significant areas of white, a sense of impending doom is created by the threatening clouds, the capricious and sharply pointed contours of the rocks and the crowding together of natural elements."

Examples of his work include The Rest on the Flight into Egypt (Prado, which has four Patinirs, including two signed ones), The Baptism of Christ (one of two in Vienna), St. John at Patmos (by or with his workshop, National Gallery, London), Landscape with the Shepherds (Antwerp), and the Rest on the Flight to Egypt (Minneapolis Institute of Arts). Noticeable is the case of The rest on the flight into Egypt, his most repeated at least of what in our days remain of his ouvre, with at least 7 versions including the one preserved at the Thyssen-Bornemisza Museum in Madrid. As a matter of fact the Spanish capital holds the most extensive collection of Works by Patinir, with four in The Prado and The Thyssen-Bornemisza and The Royal Monastery of El Escorial owning one each. There is also a triptych attributed to him called The Penitence of St. Jerome. at The Metropolitan Museum of Art in New York.

Patinir died in Antwerp in 1524, and Quentin Metsys became the guardian of his children.

 أعماله

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  Portraits: a drawing by Durer, and a posthumous print by Cornelius Cort

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  Landscape with St Jerome, 1515–1519, oil on panel, 74 × 91 cm (29.1 × 35.8 in), Museo del Prado, Madrid, Spain

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  Landscape with St John the Baptist Preaching, oil on oak, 36.5 × 45 cm (14.1 × 17.1 in), Royal Museums of Fine Arts of Belgium

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  Rest on the Flight into Egypt, oil on panel, 121 × 177 cm (47.6 × 69.7 in), Museo del Prado, Madrid, Spain

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  St Christopher Bearing the Christ Child, oil on panel, 48 × 59.5 cm (18.9 × 23.4 in), Rockoxhuis, Antwerp, Belgium

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  St Jerome in the Desert, c. 1520, oil on panel, 78 × 137 cm (30.7 × 53.9 in), Louvre, Paris

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  The Penitence of Saint Jerome, c. 1512–15, triptych, oil on wood, 117.5 × 81.3 cm (46.5 × 31.9 in), each wing 120.7 × 35.6 cm (47.5 × 14 in), Metropolitan Museum of Art, New York

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  Rest on the Flight into Egypt, 1515–1524, on wood, 62 × 78 cm, Gemäldegalerie, Berlin

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  Landscape with the Destruction of Sodom and Gomorrah, c. 1520, oil on panel, 22.5 × 308 cm (8.9 × 11.8 in), Museum Boijmans Van Beuningen

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  Landscape with Saint Christopher, c. 1520, oil on panel, 125 cm × 170 cm (49.2 × 66.9 in), El Escorial, Monasterio de San Lorenzo, Spain

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  The Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox, c. 1510–20, oil on panel, 62.28 × 58.7 cm (24.52 × 23.13 in), Philadelphia Museum of Art

 انظر أيضاً

• Early Renaissance painting
• Renaissance in the Netherlands

 المراجع

• "Grove": Hans Devisscher. "Patinir, Joachim." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 Feb. 2017. subscription required
• Koch, Robert A. Joachim Patinir (Princeton: Princeton University Press, 1968).
• Battistini, Matilde. Symbols & Allegories in Art: The Hereafter. Los Angeles: The J. Paul Getty Museum, 2005. 210, 212–13.
• Falkenburg, Reindert. Joachim Patinir: Landscape as an Image of the Pilgrimage of Life. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1988.
• Ball-Krückmann, Babette, Landschaft zur Andacht: die Weltlandschaften Joachim Pateniers. Munich 1977 (microfiche)
• Pioch, Nicolas. "The Northern Renaissance (1500–1615)." WebMuseum. 14 October 2002. 28 March 2006.
• Smith Chipps, Jeffery. The Northern Renaissance. Phaidon. Arts & Ideas, 2004. 321.

 وصلات خارجية

• Voigt, Verena, Joachim Patinir (ca. 1485· 1524) and Landscape Painting in the Low Countries Hand (1986): 57. PDF article
• WGA Gallery
• Agence photographique de la réunion des Musées nationaux