Cornelis Schut

Cornelis Schut was born in Antwerp in the Duchy of Brabant as the son of Willem Schut and Suzanna Schernilla. There are no records about his artistic training. He is first mentioned as a pupil of Peter Paul Rubens by the 18th century historian Jacob Campo Weyerman. Although the scientific relevance of Weyerman's sources is questioned, it is still assumed that Schut was a pupil of Rubens since Rubens was exempted from registering his pupils with the Antwerp Guild of St Luke. Because Schut's early works are closer to the style of the leading Antwerp history painter Abraham Janssens, some connection with the workshop of Abraham Janssens may have existed although it does not prove he was Janssens' pupil. Schut left for Italy shortly after 1618. While in Rome, he was a founding member of the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It became customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Schut took the nickname Broodzak (bread bag). This commission was instrumental in launching Schut's career in Italy as Pescatori was rich and influential and keen to help his compatriots in Italy. Another important patron in Rome was the aristocratic Italian banker and art collector Vincenzo Giustiniani who commissioned two large religious compositions from him (now in the Abbey of Sainte-Trinité, Caen). This patronage clearly demonstrated the esteem which Schut enjoyed in Rome. He also attracted the attention of the young Poussin then residing in Rome in the residence of the Flemish sculptor François Duquesnoy. Poussin's early works borrowed some motifs from Schut's works made for Vincenzo Giustiniani. His movements after this time are unclear. He resurfaced in September 1631 in Antwerp when he appeared before a notary to draw up marital conditions. On 7 October 1631 Cornelis Schut married Catharina Gheenssins, who was from a well-off family. His wife died on 29 September 1637 leaving the artist with three children of whom two died young. The artist remarried the next year with Anastasia Scelliers with whom he had two sons and two daughters. Schut enjoyed artistic success upon his return to Antwerp where he produced mainly altarpieces for the local churches. He painted in the High-Baroque style that had become popular in Flanders by that time. In particular his ability to produce ceiling decorations in the monumental Italian style, with its typical illusionistic character, was regarded highly by patrons in his home country. An example of this is his Assumption of Mary in Antwerp Cathedral. Schut was the teacher of Ambrosius (II) Gast, Jan Baptist van den Kerckhoven, Philippe Vleughels, Hans Witdoeck and his cousin Cornelis Schut III. ==Works==

General Schut was a versatile artist who produced oil paintings, frescos, engravings, drawings and tapestry cartoons. He was principally a history painter of religious and mythological subjects. His early work shows the influence of Abraham Janssens. During his Italian sojourn in Rome during 1624 and Florence in 1627 he adopted elements of the High Baroque style of Pietro da Cortona, Guercino and classical tendencies informed by Domenichino and Guido Reni. This style is characterized among other things by a strong sense of animation and pathos, in which light and color play an important role. Elements of late mannerism are also evident. Schut's style, which is characterized by strong foreshortening, sharp contrasts of light and extreme facial expressions has some affinity with the work of Federico Barocci, who played a major role in the evolution of baroque painting. They were also woven in the Brussels workshops. Collaborations As was common in 17th-century Antwerp, Schut often collaborated with other artists who were specialist painters. He added figures to the compositions of the painter of church interiors Pieter Neefs the Elder. Schut collaborated with flower painters such as Daniel Seghers and Frans Ykens on so-called 'garland paintings'. Garland paintings are a type of still life invented in Antwerp and whose earliest practitioner was Jan Brueghel the Elder. These paintings typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. An example of a collaboration between Schut and a flower painter on a garland painting is the composition Birth of the red rose (Staatliches Museum Schwerin) in which the figures in the center were painted by Schut and the flower garland was painted by Frans Ykens. His compositions were engraved by leading Antwerp engravers including Hans Witdoeck, Wenceslaus Hollar and Lucas Vorsterman although he was an accomplished etcher himself. Collections Works by Cornelis Schut are in the collections of the Royal Museum of Fine Arts Antwerp, the Metropolitan Museum of Art, New York City and the Art Museum of Estonia, Tallinn. ==References==