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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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The author's choice to examine El Greco's Italian activity leads to a discussion of the Cretan painter as if he were an Italian Renaissance artist ab initio or a painter associated with the Bamboccianti, the Fiamminghi or other sort of emigres who trained at the high levels of Italian art instruction available to local Roman artists.
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.
bamboccianti. This group worked in Rome in the mid-seventeenth century
i Bamboccianti (32) from the Czech Historical Monuments Office.
(3) Initially, Bertrand's amateur experiments with this new writing genre reflect an interest in the grotesque and capricious engravings of a seventeenth-century group labeled "I Bamboccianti." 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." Several Haarlem-born artists in addition to van Laer belonged to this circle, including Jan Miel and Dirk Theodor Helmbreker, with whose work Bertrand would have been familiar.
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).
The recognition of innate gentility is part and parcel of his acceptance in Rubens's studio and when he goes to Rome he cannot get on with the community of Flemish artists working there, latter-day Bamboccianti and painters of small-scale and finely wrought pictures.