家庭

他的家人最初来自卢森堡,诸侯d 'Ourle或d 'Orley后裔。他的家人搬到布拉班特公爵,他的父亲Valentin van Orley布鲁塞尔(ca。1466 - 1466年)出生的私生子,失去了他高贵的血统。伯纳德和他的兄弟埃弗拉德(他也会成为一个画家)都出生在布鲁塞尔。

上翼板的雕刻Saluzzo祭坛装饰归因于Valentin van Orley,描述生活的圣约瑟夫(ca 1510)。祭坛装饰本身哥特在风格上,但这些翼板已经显示的一些特点文艺复兴时期的布鲁塞尔的风格(市博物馆)。生活的电池板的圣罗氏制药圣詹姆斯教堂,安特卫普已被归因于埃弗拉德范Orley。

1512年伯纳德•范Orley婚艾格尼丝Seghers;1539年,艾格尼丝的死亡,他结婚后不久Catherina Hellinckx。他有九个孩子。他的四个男孩跟着他们的父亲的脚步,也成为画家。

学徒

有时认为伯纳德•范Orley完成他在罗马艺术教育的学校拉斐尔然而,没有可靠的来源证明。当时,只有几个与布鲁塞尔的一些著名画家,如货车Laethem Coninxloo家庭和画家。因此更有可能,他最初是在他父亲的工厂,一个名不见经传的画家的名字显示为“主”“Liggere”(寄存器)的圣卢克的公会安特卫普谁有几个学生。 

伯纳德•范Orley收到他的知识从版画和文艺复兴时期的风格拉斐尔的漫画场景的挂毯使徒行传在布鲁塞尔出席1516年和1520年之间,他们现在在伦敦。他们已经为教皇挂毯编织利奥十世通过Pieter van阿尔斯特.

绘画

他最早的作品可以追溯到1512年签署之一:在“三联布鲁塞尔的木匠和石匠公司”,也被称为使徒坛上。中央面板艺术历史博物馆在维也纳,和侧板比利时皇家美术博物馆布鲁塞尔。它讲述了两个使徒托马斯和马修的生活。它最初是为教堂的委托我们祝福夫人Zavel教堂在布鲁塞尔。

在他的早期作品延续的传统Jan范艾克,Rogier van der Weyden和他们的追随者,但后来他逐渐开始将文艺复兴时期的意大利风格的图案,代表图类型和空间关系等的作品中找到拉斐尔.

1515年,他被要求接管委员会的三联兄弟会的圣十字教堂Sint-Walburga教堂Veurne。他在1522年完成并交付它。左侧面板在比利时皇家美术博物馆。前面显示圣赫勒拿会议教皇在文艺复兴时期的建筑设置建筑和意大利风格的图案。后面是一个纯灰色画画基督的十字架下。右面板上显示的广场Sabauda,都灵,显示查理曼大帝收到热情的文物。

从1515年起,他和他的工作室收到许多订单肖像,包括从皇室和人连接到法院。在1516年他画七的画像查尔斯刚刚成为西班牙的国王,他哥哥费迪南德的肖像,匈牙利,后来的国王和他的四个姐妹(前往丹麦的国王)。

1516年的画的副本都灵裹尸布,通常归因于Albrecht Durer,有时也归因于伯纳德•范Orley。 1517年,他被认为是在安特卫普大师行会的圣路加福音。

1518年5月23日他被任命为官方宫廷画师荷兰的摄政Margarete奥地利,替换雅格布德的Barbari. 在这个位置,他成为了一个重要的车间主任,让他的第一个创业艺术家在欧洲北部。他这个车间生产油画,特别是1525年之后,成为了一个主要的设计师tapestry卡通片和彩色玻璃窗。他这个位置,直到1527年他和他的家人和几个其他的艺术家,掉进了耻辱,因为他们的新教的同情。家庭逃离布鲁塞尔和定居在安特卫普。五年后,他回到布鲁塞尔时恢复新丽晶的荷兰,奥地利的玛丽亚。在1541年他死后,他的成功是由他的学生担任宫廷画师迈克尔Coxcie.

在他最重要的作品是美德的三张相联的耐心(比利时皇家美术博物馆布鲁塞尔),也称为工作装饰画委托奥地利1521年玛格丽特来说明她写了一首诗耐心的长处。内饰面板代表的试验工作,而外层板重新计票的比喻拉撒路和潜水(而不是通常的圣徒的纯灰色画的画)。这三部曲是完全由伯纳德·Orley的手。一定是让他感到自豪的是他的工作,他签署了两次,他的纹章以及他的字母组合BVO和座右铭“ELX时光TYT”(“自己的时间”)。这关系到他的艺术主张一个艺术家应该是一个男人在他的时间完全集成。 

相同的博物馆房子另一个三联画同样的画家:了三部曲Haneton。这三部曲是由菲利·Haneton第一书记在查尔斯的密旨诉中间面板描绘了一个辛酸的圣母怜子图在一个古老的金色背景下,画在一个个人风格的影响佛兰德的原语和Albrecht Durer。伯纳德·范·Orley一起Jan Gossaert,最早在佛兰德画推出强有力的肌肉组织。左边的面板显示了菲利普Haneton和他的儿子,他的妻子和她的女儿和右面板。

三部曲的最后一个判断(Koninklijk博物馆voor Schone Kunsten Antwerpen),被施赈人员的委托安特普圣母大教堂于1525年,是他最好的作品之一,其创意和掌握。纯灰色画油画的背面被处决彼得德Kempeneer是谁,当时,学徒van Orley的车间。

还是丝毫不懂加略山的祭坛的装饰品Onze-Lieve-Vrouwekerk在布鲁日,始于1534年。这是玛格丽特的奥地利最初委托葬礼Brou的纪念碑在教堂Bourg-en-Bresse在勃艮第。侧板被马库斯杰拉德完成很久以后老了布鲁日玛格丽特·帕尔玛的,摄政的荷兰国王西班牙国王菲利普二世。中央代表还是丝毫不懂加略山的一部分,左侧面板荆棘的冠冕,基督和基督十字架的拷问。右边的面板描述了圣母怜子图和地狱的边缘的而已。

他的画像更温和周到,比如他的画像查理五世和Margarete奥地利。他通常代表着他的臣民在一个坐着的静态位置,他们面无表情的脸没有太多心理深度或感情。他的工作室制作几份这些肖像,尤其是查尔斯诉他们的肖像作为游客或朝臣们的礼物。

他通常代表圣人全身像,比如他施洗约翰和玛丽怀孕(博物馆普拉多博物馆马德里),开放的柱廊的背景华盖或一组树。这种类型的作文中可以找到许多16世纪的绘画。

伯纳德·范·Orley经常签署了他的画,尤其是在他的早期在1521年之前,盾形纹章的诸侯d 'Orley:银色两个托盘红色的。它一直认为,这些都是他父亲瓦伦汀的签名

当Albrecht Durer1520年访问荷兰时出现在新皇帝的加冕典礼,查理五世,他叫伯纳德·Orley“荷兰的拉斐尔”。杜勒,谁住在范Orley客人家里2 8月27日至1520年9月,还画了一幅肖像,一些学者认为范Orley。杜勒van Orley有着深远的影响在他后期的作品试图找到一个合成杜勒与另一个文艺复兴时期的大师,拉斐尔。

一些重要的范Orley的学生迈克尔Coxcie,Pieter van Aelst Coecke和Pieter de Kempeneer风格的延续天主教教义。其他学生,如兰斯洛特Blondeel和Jan Vermeyen继续在painter-designer主人的传统。

在一起Jan Gossaert和昆汀Matsys伯纳德van Orley被认为是一个领先的创新者的16世纪佛兰德画,采用意大利文艺复兴时期的风格和方式。执行他的画作小心翼翼微小细节和脱颖而出的绚丽色彩。

Family

His family came originally from Luxembourg, descendants from the Seigneurs d'Ourle or d'Orley. His branch of the family then moved to the Duchy of Brabant, where his father Valentin van Orley (ca. 1466 - Brussels 1532) was born as an illegitimate child and lost his noble lineage. Bernard and his brother Everard (who would also become a painter) were both born in Brussels.

The painted wing panels of the sculpted Saluzzo retable are attributed to Valentin van Orley, describing the Life of St. Joseph (ca. 1510). The retable itself is Gothic in style, but these wing panels already show some characteristic of the Renaissance style (City Museum of Brussels). The panels of the Life of St. Roch in the Saint James' Church, Antwerp have been ascribed to Everard van Orley.

In 1512 Bernard van Orley married Agnes Seghers; in 1539, shortly after Agnes' death, he married Catherina Hellinckx. He had nine children. His four boys followed in the footsteps of their father and also became painters.

Apprenticeship

It is sometimes presumed that Bernard van Orley completed his art education in Rome in the school of Raphael, however there are no reliable sources to prove this. At that time, there were only a few painters with some renown in Brussels, such as Van Laethem and painters from the Coninxloo family. It is therefore much more likely that he was initially taught in the workshop of his father, an obscure painter whose name appears as "master" in the "Liggere" (registers) of the Guild of St. Luke of Antwerp and who had several pupils.

Bernard van Orley received his knowledge of the Renaissance style from engravings and the Raphael Cartoons for tapestries of scenes from the Acts of the Apostles that were present in Brussels between 1516 and 1520; they are now in London. They were made to be woven into tapestries for Pope Leo X by Pieter van Aalst.

Paintings

One of his earliest signed works dates from 1512: the "Triptych of the Carpenters and Masons Corporation of Brussels", also called the Apostle Altar. The central panel is in the Kunsthistorisches Museum in Vienna, and the side panels in the Royal Museums of Fine Arts of Belgium, Brussels. It recounts the lives of two apostles Thomas and Matthew. It was originally commissioned for a chapel in the Our Blessed Lady of Zavel Church in Brussels.

In his early works he continued the traditions of Jan van Eyck, Rogier van der Weydenand their followers, but then he gradually began integrating the Italianate motifs of the Renaissance, representing figure types and the spatial relationship such as found in the works of Raphael.

In 1515 he was asked to take over the commission of a triptych for the Brotherhood of the Holy Cross in a chapel in the Sint-Walburga church in Veurne. He finished and delivered it in 1522. The left panel is on display in the Royal Museum of Fine Arts of Belgium. The front shows Saint Helena meeting the pope in an architectural setting of Renaissance buildings and Italianate motifs. The back is a grisaille painting of Christ falling under the Cross. The right panel is on display in the Galleria Sabauda, Turin, showing Charlemagne receiving the relics of the Passion.

From 1515 on, he and his workshop received many orders for portraits, including from the royal family and from people connected to the court. In 1516 he painted seven portraits of Charles, who had just become King of Spain, and portraits of his brother Ferdinand, the later King of Hungary, and his four sisters (destined for the King of Denmark).

The 1516 painted copy of the Shroud of Turin, commonly attributed to Albrecht Dürer, is also sometimes attributed to Bernard van Orley.By 1517 he was recognized as a master in the Antwerp Guild of St. Luke.

On 23 May 1518 he was appointed as the official court painter to the Regent of the Netherlands Margarete of Austria, replacing Jacopo de' Barbari.In this position, he became the head of an important workshop, making him one of the first entrepreneurial artists in Northern Europe. With this workshop he produced paintings and, especially after 1525, became a leading designer of tapestry cartoons and stained glass windows. He held this position until 1527 when he, his family and several other artists, fell into disgrace because of their Protestant sympathies. The family fled Brussels and settled in Antwerp. Five years later, he returned to Brussels when he was reinstated by the new Regent of the Netherlands, Maria of Austria. After his death in 1541, he was succeeded as court painter by his pupil Michael Coxcie.

Among his most important paintings is the Triptych of Virtue of Patience (Royal Museums of Fine Arts of Belgium, Brussels), also called the Job altarpiece, commissioned in 1521 by Margaret of Austria to illustrate a poem she wrote about the virtue of patience. The interior panels represent the trials ofJob, while the outer panels recount the parable ofLazarus and Dives (instead of the usual grisaille paintings of saints). This triptych is completely by the hand of Bernard van Orley. He must have been especially proud of his work as he signed it twice and added his coat of arms as well as his monogram BVO and the motto 'ELX SYNE TYT' ("each his own time"). This relates to his artistic opinion that an artist should be a man fully integrated in his time.

The same museum houses another triptych by the same painter: The Haneton Triptych. This triptych was commissioned by Philippe Haneton, first secretary in the Secret Counsel of Charles V. The middle panel depicts a poignant pietà against an archaic golden background, painted in a very personal style with influences of the Flemish Primitives and Albrecht Dürer. Bernard van Orley was, together with Jan Gossaert, among the first to introduce strong musculature in Flemish paintings. The left panel shows Philippe Haneton and his sons, and the right panel his wife and her daughters.The triptych The Last Judgment (Koninklijk Museum voor Schone Kunsten Antwerpen), was commissioned by the almoners of the Cathedral of Our Lady, Antwerp in 1525, is one of his best works in its originality and mastery. The paintings in grisaille on the back were executed by Peter de Kempeneer, who was, at that time, an apprentice in the van Orley's workshop.

The Altarpiece of Calvary in the Onze-Lieve-Vrouwekerk in Bruges, dates from 1534. It was commissioned by Margaret of Austria originally for the funeral monument in the church of Brou in Bourg-en-Bresse in Burgundy. The side panels were finished much later by Marcus Gerards the Elder and brought to Bruges by Margaret of Parma, regent of the Netherlands under king Philip II of Spain. The central part represent the Calvary, the left panel the Crown of Thorns, the Scourging of Christ and Christ carrying the Cross. The right panel depicts the Pietà and the Limbo of the Just.

His portraits were more subdued and thoughtful, such as his portraits of Charles V andMargarete of Austria. He usually represents his subjects in a seated static position, their expressionless faces without much psychological depth or feelings. His workshop produced several copies of these portraits, especially the portrait of Charles V. They were offered as gift to visitors or courtiers.

He usually represented saints in a full-length portrait, such as his Mary with Child and John the Baptist (Museo del Prado, Madrid), with a background of an open colonnade, a baldachin or a set of trees. This type of composition can be found in many 16th-century paintings.

Bernard van Orley often signed his paintings, especially in his early period before 1521, with the coat of arms of the Seigneurs d'Orley: argent two pallets gules. It had been contended that these are the signature of his father Valentin 

When Albrecht Dürer visited the Netherlands in 1520 to be present at the coronation of the new emperor, Charles V, he called Bernard van Orley "the Raphael of the Netherlands". Dürer, who stayed as a guest in van Orley's house between 27 August and 2 September 1520, also painted a portrait which some scholars identify as van Orley. Dürer had a profound influence on van Orley who in his later works tried to find a synthesis between Dürer and another Renaissance master, Raphael.

Some important pupils of van Orley were Michael Coxcie, Pieter Coecke van Aelst andPieter de Kempeneer, who continued in the style of Romanism. Other pupils, such asLancelot Blondeel and Jan Vermeyen continued in the painter-designer tradition of their master.

Together with Jan Gossaert and Quentin Matsys, Bernard van Orley is regarded as one of the leading innovators of the 16th-century Flemish painting, by adopting the style and manner of the Italian Renaissance. His paintings are executed with great care to minute details and stand out by their brilliant colours.