Miel, Jan

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Person Born Died Gender Person ID
Jan Miel Beveren-Waas, Antwerrp 1599 Turín 1664 M P0437

Instrument(s) Professional group Social status Social sphere Why is the person listed?
guitarra vihuela de mano Artist Artisan Urban Artist Artist (painter)

Years active Place active Century Region
17cent/1/early Italy
Biographical information

This is a translation of the biograhical note in the on-line catalogue of the Museo del Prado (6/10/2019) The bulk of his pictorial career takes place in Rome, where he is documented before 1633. There he relates to the current of the bamboccianti, and shortly thereafter he enters the fellowship of the schildersbent, reserved for the Flemish who lived in the city. Between 1636 and 1658 he remained in Rome, where he made small-scale genre works where he reflected the daily life of the humble classes of Roman society. Although he makes numerous copies of the work of Pieter Boddingh van Laer, true leader of the bamboccianti, it will be he who, together with Michelangelo Cerquozzi, will give a turn to these compositions while diminishing relevance to the landscape for the benefit of the anecdote. Some of the best examples of this type of painting are found in the Museum, such as El tañedor de vihuela. His greatest contribution to the genre are the carnival performances of Rome, especially the work of the Prado, only surpassed by Carnival in the Colonna Square (Wadsworth Atheneum, Hartford). He collaborates on many occasions with other artists, Viviano Codazzi and Gaspard Dughet, among others, to whose vedute or landscapes he will add the necessary figures. He also works with Andrea Sacchi in some works, due to the evolution of his painting towards classicism, which is evident in some of his canvases, such as in The Hunt for Dido and Aeneas (Musée Municipal, Cambrai), and corroborated by his admission in the Roman Academy of San Lucas. Since 1650 he stops painting bambocciadas to devote himself to religious painting for Roman churches and small works of devotion commissioned by important families of that city, such as the Barberini. From 1658 he traveled to Turin to enter the service of the Duke of Savoy, Carlos Manuel II. His facet as an engraver must also be taken into account, leaving an example of it in the realization of covers of literary works, such as La Povertá Contenta, by Danielle Bartoli (Rome, 1650), or De Bello Belgico, by Famiano Strada (Rome, 1647 ) (Pérez Preciado, JJ in EMNP, 2006, volume V, p. 1549).

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