A World of Materials in a Cabinet without Drawers: Re-framing Jan van Kessel’s The Four Parts of the World (original) (raw)

Abstract

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This research examines Jan van Kessel's series, The Four Parts of the World, by exploring its historical context and its relationship with comparable artistic works and collectors' cabinets of natural curiosities. The paper concludes that the version from Gillis's collection is currently held in Munich, supported by historical inventories and comparisons to known works. It highlights the significance of the artwork's portrayal of insects and collections in the early modern period, addressing the artistic strategies applied by Van Kessel and contemporary artists.

Key takeaways

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  1. Van Kessel's 'The Four Parts of the World' redefines cabinet painting status through innovative pictorial types.
  2. The series features 68 miniatures on copper, elevating their prestige beyond conventional cabinet decorations.
  3. Van Kessel's works were priced around 4,000 guilder, significantly higher than common cabinet paintings.
  4. The interplay of luxury materials in the paintings mirrors the global trade networks of the 17th century.
  5. The text examines Van Kessel's artistic strategies in transforming traditional cabinet art into standalone masterpieces.

Figures (16)

During the 1660s, the Antwerp artist Jan van Kessel the Elder (1626-1679) produced two series of The four parts of the world that feature a novel pictorial type. The first, now in the Museo del Prado in Madrid, remains only partially intact (fig. 1); however, a written description reveals that it was originally identical in format to a second series in the Alte Pinakothek in Munich (figs. 2-5).' Each of the four composite pictures in this series contains 16 discrete, miniature oil paintings on copper plates that are Detail fig. 2 Jan van Kessel I, Europe from The four parts of the world, 1664-1665

During the 1660s, the Antwerp artist Jan van Kessel the Elder (1626-1679) produced two series of The four parts of the world that feature a novel pictorial type. The first, now in the Museo del Prado in Madrid, remains only partially intact (fig. 1); however, a written description reveals that it was originally identical in format to a second series in the Alte Pinakothek in Munich (figs. 2-5).' Each of the four composite pictures in this series contains 16 discrete, miniature oil paintings on copper plates that are Detail fig. 2 Jan van Kessel I, Europe from The four parts of the world, 1664-1665

arranged around a larger painting, also on copper, and set into a compartmentalized ebony frame. Europe, Asia, Africa and America are represented in the centerpieces as kunstkammer-like spaces overflowing with finely wrought objects of natural and human artistry, diverse creatures and figures in exotic dress. The peripheral plates, by contrast, depict individual cities and geographic landmarks as settings for allegedly native flora and fauna.” The compartmentalized framing and incorporation of aesthetically and economically valuable materials from diverse regions of the globe immediately evoke the luxurious kunstkasten that were produced in great numbers in Antwerp and exported throughout Europe during the seventeenth century (fig. 6). These opulent

arranged around a larger painting, also on copper, and set into a compartmentalized ebony frame. Europe, Asia, Africa and America are represented in the centerpieces as kunstkammer-like spaces overflowing with finely wrought objects of natural and human artistry, diverse creatures and figures in exotic dress. The peripheral plates, by contrast, depict individual cities and geographic landmarks as settings for allegedly native flora and fauna.” The compartmentalized framing and incorporation of aesthetically and economically valuable materials from diverse regions of the globe immediately evoke the luxurious kunstkasten that were produced in great numbers in Antwerp and exported throughout Europe during the seventeenth century (fig. 6). These opulent

The four parts of the world was a distinct pictorial theme that emergec within Antwerp’s humanist milieu around 1570, and Van Kessel’: representation of it in the format of luxurious cabinets was innovative ir many respects.” Initially, this theme was restricted to graphic media, suck as allegorical print series, printed books and Habsburg pageantry decoration. The theme migrated to oil painting by the early seventeentt century, but it still retained many of the literary and humanis conventions of printed precursors. The implications of Van Kessel’ translation of a subject that was rooted in the medium of print into oi paint, ebony and copper cannot be underestimated. Such material aspect: have been overlooked by scholars who have been quick to compare The four parts of the world with seventeenth-century Netherlandish country and continent maps, in which a central topographic view is often framec by views of cities and depictions of native inhabitants (fig. 7).’* The association of descriptive immediacy, scientific documentation, anc erudite ideas with graphic media meant that maps and other printec

The four parts of the world was a distinct pictorial theme that emergec within Antwerp’s humanist milieu around 1570, and Van Kessel’: representation of it in the format of luxurious cabinets was innovative ir many respects.” Initially, this theme was restricted to graphic media, suck as allegorical print series, printed books and Habsburg pageantry decoration. The theme migrated to oil painting by the early seventeentt century, but it still retained many of the literary and humanis conventions of printed precursors. The implications of Van Kessel’ translation of a subject that was rooted in the medium of print into oi paint, ebony and copper cannot be underestimated. Such material aspect: have been overlooked by scholars who have been quick to compare The four parts of the world with seventeenth-century Netherlandish country and continent maps, in which a central topographic view is often framec by views of cities and depictions of native inhabitants (fig. 7).’* The association of descriptive immediacy, scientific documentation, anc erudite ideas with graphic media meant that maps and other printec

Jan van Kessel I, Asia, 1664-1666 (detail), oil on copper, Munich, Alte Pinakothek (photo: bpk, Berlin / Alte Pinakothek, Munich / Art Resource, NY). centerpieces of the continents, were traded as precious commodities throughout Europe and exchanged as gifts with foreign leaders and dignitaries.

Jan van Kessel I, Asia, 1664-1666 (detail), oil on copper, Munich, Alte Pinakothek (photo: bpk, Berlin / Alte Pinakothek, Munich / Art Resource, NY). centerpieces of the continents, were traded as precious commodities throughout Europe and exchanged as gifts with foreign leaders and dignitaries.

depicted in this later, more crudely painted cabinet strongly suggest that it was made using Van Kessel’s two nearly identical subdivided insect works as a model. It has been suggested that this cabinet was produced in England, indicating the broad reach of Van Kessel’s series.” Furthermore, its existence signifies that even though Van Kessel’s small-format insect paintings originated in the context of cabinets, his compartmentally framed combinatory pictures acquired independent prestige and value, ultimately (and ironically) serving as the model for a three-dimensional cabinet.

depicted in this later, more crudely painted cabinet strongly suggest that it was made using Van Kessel’s two nearly identical subdivided insect works as a model. It has been suggested that this cabinet was produced in England, indicating the broad reach of Van Kessel’s series.” Furthermore, its existence signifies that even though Van Kessel’s small-format insect paintings originated in the context of cabinets, his compartmentally framed combinatory pictures acquired independent prestige and value, ultimately (and ironically) serving as the model for a three-dimensional cabinet.

parts of the world were deeply embedded can be found in the kunstkamer of the dollhouse commissioned by Petronella de la Court, the wife of a wealthy Amsterdam brewer, between 1670 and 1690 (fig. 14).”7 Hanging on the wall above the mantelpiece is an exquisite micro-carved object consisting of a central representation of the Last Judgment surrounded by 20 ivory reliefs of Passion scenes, which are inset into a subdivided ebony framework and encased in a larger, ornate amber frame (fig. 15). Although it has not been determined if this particular object actually existed in De la Court’s collection, she owned several works by the Flemish sculptor Francis van Bossuit (1635-1692), who specialized in low-relief ivory carvings and to whom two other works in the dollhouse have been attributed.* As Frits Scholten has pointed out recently, such virtuoso micro-carvings were esteemed and incorporated into early modem art cabinets and collections as miniature wonders of human artistry.” Jacob de Formentrou, A cabinet of pictures, 1659(?), oil on canvas, 75 x 12 cm, London, Royal Collection (photo: The Royal Collection -2005, Her Majesty Queen Elizabeth II).

parts of the world were deeply embedded can be found in the kunstkamer of the dollhouse commissioned by Petronella de la Court, the wife of a wealthy Amsterdam brewer, between 1670 and 1690 (fig. 14).”7 Hanging on the wall above the mantelpiece is an exquisite micro-carved object consisting of a central representation of the Last Judgment surrounded by 20 ivory reliefs of Passion scenes, which are inset into a subdivided ebony framework and encased in a larger, ornate amber frame (fig. 15). Although it has not been determined if this particular object actually existed in De la Court’s collection, she owned several works by the Flemish sculptor Francis van Bossuit (1635-1692), who specialized in low-relief ivory carvings and to whom two other works in the dollhouse have been attributed.* As Frits Scholten has pointed out recently, such virtuoso micro-carvings were esteemed and incorporated into early modem art cabinets and collections as miniature wonders of human artistry.” Jacob de Formentrou, A cabinet of pictures, 1659(?), oil on canvas, 75 x 12 cm, London, Royal Collection (photo: The Royal Collection -2005, Her Majesty Queen Elizabeth II).

placement above cabinets and larger easel paintings conveys its singularity as well as the esteem which it would have commanded from the collectors and connoisseurs who frequented the kunstkamer, and one can imagine that Van Kessel’s series would have been equally compelling in the space of De Spiegel. The micro-carved object and Van Kessel’s compartmentalized paintings were above all showcases of fine materials and virtuoso workmanship that were fittingly displayed in spaces that complemented and called attention to their small-scale, yet far-reaching material worlds.

placement above cabinets and larger easel paintings conveys its singularity as well as the esteem which it would have commanded from the collectors and connoisseurs who frequented the kunstkamer, and one can imagine that Van Kessel’s series would have been equally compelling in the space of De Spiegel. The micro-carved object and Van Kessel’s compartmentalized paintings were above all showcases of fine materials and virtuoso workmanship that were fittingly displayed in spaces that complemented and called attention to their small-scale, yet far-reaching material worlds.

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