文图拉.彼得斯Bonaventura Peeters（1614年7月23日—1652年7月25日），佛兰德画家。
此人出生在安特卫普的儿子Cornelis彼得斯和Catharina van Eelen。 他在圣教会受洗瓦尔普吉斯之1614年7月23日在安特卫普。 他是一个哥哥的海景画家简老,Gillis老和Catharina。彼得斯.
海景与水手躲避暴雨
没有知道他早期的训练虽然很可能安德利van Eertvelt波涛汹涌的海面画的专家,他的主人。兰西在安特卫普的成为大师圣卢克的公会在1634年。 1638年7月5日他收到一个委员会受雇佣者的安特卫普的地图围攻Kallo和Verrebroek发生只有一个月前。他可以提供地图半个月后。这为他赢得了一个后续委员会受雇佣者的一个大型绘画Kallo的围攻,他与他兄弟Gillis合作完成。 他成为了为数不多的海洋专家活跃在荷兰南部在17世纪中期。
起初他与他的哥哥Gillis在安特卫普的工作室。然而,他在1641年搬到霍博肯(安特卫普)他住在一个宽敞的居住和工作在一个工作室和他的学生Catharina简•彼得斯(I)。 他是老师他的兄弟姐妹Catharina和简•彼得斯(I)。
此人从未结婚,死在霍博肯,享年38后遭受疾病的最后几年他的生活。
在挪威海岸北极熊捕猎
兰西的海洋绘画构成整个范围的战争场面,风暴,沉船,观点在河流、船舶沿海水域和港口、夜景等。他最早的海洋全景画。他的亲密和准确的船舶知识可能暗示早期生活在海中。他特别注意云的详细描述和海浪。
他早期的作品展示荷兰的色调阶段的相似性山水画。后期的绘画反映颜色的意大利风格的越强古典风格. 这种转变是一般的艺术风格的变化。[6]戏剧性的沉船黑暗汹涌的云层形成他全部作品的一个重要组成部分,是宁静的港口和”肖像“船舶。
东方的一个港口
此人的许多画作描绘的实际位置北海和河斯凯尔特河和这些学科形成的大部分他的艺术生产。他甚至可能沿着海岸旅行斯堪的那维亚港口的表明自己的观点大天使在俄罗斯北部一个提供一个场景的驯鹿或迷路拉雪橇。北欧港口的其他视图和场景支持的观点,他可能去过那里。 兰西。彼得斯老反复回到港口与航运在前台的写照。此人老发达的专业描述港口与航运在前台。他第一次这样的观点可以追溯到1634年,他成为了一名掌握在安特卫普公会。它描述了“大力神”和“Eenhorn”Hoorn港(1634年,国家海事博物馆、伦敦)。此人的作品包含许多较小的这种类型的例子,包括三个威廉斯塔德的观点,从不同的角度,和一个视图Brouwershaven,鹿特丹。[4]
他的许多观点的遥远地中海和中东港口可能反映了越来越多的异国情调和味道是完全虚构的或来自打印,包括那些由他的弟弟1月曾在欧洲南部旅行。 这一传统同时在开发佛兰德巴洛克绘画而在荷兰黄金时代绘画,很多艺术家,包括彼得斯,在安特卫普和工作荷兰共和国.[1]他的观点的巴西特兰西可能依赖于描述或描写他哥哥吉利斯曾前往南美洲。
“大力神”和“Eenhorn”Hoorn港
兰西此人也知道他的绘画和雕刻海上主题。其中一个名为船在暴风雨中(Plantin-Moretus博物馆在安特卫普)一首诗在他背上,他比较了海上危险的危险男人面对一生。 他的图纸,以及他的家人Jan此人我和特兰西。彼得斯二世,被用于的准备Blaeu Atlas星座的整个世界(阿特拉斯Blaeu-Van der哼哼)。
兰西与其他家庭成员在安特卫普和艺术家。例如,他与他的兄弟Gillis的一幅画Kallo战役。他是一个天才staffage画家他问其他画家画的人物作品。他与父亲和儿子合作老Neeffs和年轻的教会内部的画家,记录在签署的例子国家美术馆在伦敦艺术历史博物馆在维也纳
Peeters was born in Antwerp as the son of Cornelis Peeters and Catharina van Eelen. He was baptised in the church of St. Walpurgis in Antwerp on 23 July 1614,.He was a brother of the seascape painters Jan the Elder, Gillis the Elderand Catharina Peeters.
Nothing is known about his early training although it is possible that Andries van Eertvelt, a specialist of stormy sea paintings, was his master. Bonaventura became a master in Antwerp's Guild of Saint Luke in 1634.[2] On 5 July 1638 he received a commission of the pensionary of Antwerp to produce maps of the Siege of Kallo and Verrebroek which had occurred only one month earlier. He was able to deliver the maps half a month later. This earned him a subsequent commission from the pensionary for a large painting of the Siege of Kallo, which he completed in collaboration with his brother Gillis. He became one of the few marine specialists active in the Southern Netherlands during the mid-17th century.
Initially he shared a studio in Antwerp with his older brother Gillis. However, he moved in 1641 to Hoboken (Antwerp) where he lived in a spacious residence and worked in a studio with his pupils Catharina and Jan Peeters (I). He was the teacher of his siblings Catharina and Jan Peeters (I).
Peeters never married and died in Hoboken, aged 38 after suffering from ill health the last years of his life.
Bonaventura's marine paintings comprise the whole range of battle scenes, storms, shipwrecks, views of ships in rivers, coastal waters and harbours, night scenes etc. His earliest marine paintings are panoramic views. His intimate and accurate knowledge of ships may hint at an early life spent at sea. He paid particular attention to the detailed depiction of clouds and waves.
His earlier works show a similarity to the tonal phase of Dutchlandscape painting. Later paintings reflect the stronger colours of Italianate classicism.This shift follows the general change in artistic style at the time. Dramatic shipwrecks with dark billowy clouds form a significant part of his oeuvre, as do serene ports and "portraits" of ships.
Many of Peeters' paintings depict actual locations along the North Sea and the river Scheldt and these subjects form the bulk of his artistic production. He may have even travelled along the coast of Scandinavia as is shown by his views of the port of Archangel in Northern Russia one of which offers a scene of reindeers or elks pulling sledges. His other views of Scandinavian ports and scenes support the view that he may have travelled there.Bonaventura Peeters the Elder repeatedly returned to the portrayal of seaports with shipping in the foreground. Peeters the Elder developed something of a speciality in the portrayal of seaports with shipping in the foreground. His first such view dates to 1634, the year in which he became a master in the Antwerp guild. It depicts The 'Hercules' and 'Eenhorn' off the port of Hoorn(1634, National Maritime Museum, London). Peeters’ oeuvre includes a number of smaller examples of this type, including three views of Willemstad, taken from different angles, and a view of Brouwershaven, in Rotterdam
His many views of far-away Mediterranean and Middle Eastern ports reflect a growing taste for the exotic and are probably completely imaginary or derived from prints, including those by his younger brother Jan who had travelled in Southern Europe.This tradition developed simultaneously in Flemish Baroque painting and in Dutch Golden Age painting, with many artists, including Peeters, working in both Antwerp and in the Dutch Republic.[1] For his views of Brazil Bonaventura may have relied on descriptions or depictions by his brother Gillis, who had travelled to South America.
Bonaventura Peeters is known also for his drawings and engravings with maritime subjects. One of them entitled Ships in a storm (Plantin-Moretus Museum in Antwerp) has a poem by him on its back in which he compares the dangers at sea with the dangers that man has to face over a lifetime. His drawings, as well as those of his family members Jan Peeters I and Bonaventura Peeters II, were used in the preparation of the Blaeu's Atlas Maior of the whole world (Atlas Blaeu-Van der Hem).
Bonaventura collaborated with other family members and artists in Antwerp. For instance, he collaborated with his brother Gillis on a painting of the Battle of Kallo. As he was a gifted staffage painter he was asked by other painters to paint the figures in their compositions. His collaboration with father and son Pieter Neeffs the Elder and the Younger, painters of church interiors, is documented in the signed examples in the National Gallery in London and the Kunsthistorisches Museum in Vienna.
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