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see Laer, Pieter vanLaer or Laar, Pieter van
, c.1592–1642, Dutch landscape and genre painter and etcher. In 1625 he went to Rome, where he stayed until 1639. He was nicknamed Il Bamboccio [puppet] because his body was deformed.
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Plus precisement, les atouts de Tarot apparaissent comme des << bambochades civilisees >> en tant que peintures narratives de la vie quotidienne urbaine ou rurale auxquelles a ete enlevee toute dimension burlesque ou grotesque inherente aux Bamboccianti du XVIIe siecle.
i Bamboccianti (32) from the Czech Historical Monuments Office.
VAN LAER, Assalto ai viaggiatori (1630), reprinted in I BAMBOCCIANTI,
David A Levine, The Roman Limekilns of the Bamboccianti, 70
distinct compositions by Bamboccianti artists in which furnaces for
As his emerging style matured, and he became acquainted with the Parisian literary scene (and thus, more modern views of humor and art), Bertrand replaced the burlesque humor of the Bamboccianti with a more complex aesthetic of dualism, or the oxymoron.
In fact, Les Bambochades is a title that refers not to Peter van Laer, the reputed "Bamboccio" but to an entire group of seventeenth-century artists labeled "I Bamboccianti.
Bamboccianti painters practiced what was considered a pictorial genre, a minor art form.
Baldinucci, nonetheless noted the important contributions the Bamboccianti made to art:
The designation bamboccianti, or scenes of often sordid low life (always acceptable to the broad humour of Dutch burghers) derives from the favoured subjects of Pieter Laer, a hunchback given the title of Bamboccio, or mannikin.
More attractive than the bamboccianti are the carefully observed but fancifully recomposed views of contemporaneous Rome by Jacob de Heusch and Gaspar van Wittel, such as their pictures of an island in the Tiber with its ancient bridges, classical ruins, time-weathered ramshackle houses and opportunistic bathers and boatmen (Braunschweig Museum and Kunsthistorisches Museum, Vienna).