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Balthasar Paul Ommeganck

Balthasar Paul Ommeganck (1755 - 1826) was active/lived in Flemish, Belgium.  Balthasar Ommeganck is known for Bucolic landscape painting.

Balthasar Paul Ommeganck appears in the register of the Antwerp Guild of St Luke in 1767 as an apprentice of the landscape painter Henri-Joseph Antonissen (1737-94), who gave him a taste for sketching from nature.  His friendship with the landscape painter Simon Denis (1755-1813), who also attended Antonissen's studio, dates from this period.

Ommeganck was a talented and highly successful artist who gave a new breadth and vigour to landscape painting in the Low Countries. He developed a new expressive range combining the light found in the work of the Dutch Italianate painters of the 17th century with detailed observation of the hills and vales of the Ardennes. With great skill he resolved the conflict between an idealized view of nature and his concern for realism. The original formula that Ommeganck invented was widely copied in the 18th century and early 19th.

Ommeganck's early landscapes tended to be imaginary, evoking a world of d   ...  [Displaying 1000 of 3816 characters.]  Artist bio

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Facts about Balthasar Paul Ommeganck

Biography from the Archives of askART

Balthasar Paul Ommeganck appears in the register of the Antwerp Guild of St Luke in 1767 as an apprentice of the landscape painter Henri-Joseph Antonissen (1737-94), who gave him a taste for sketching from nature.  His friendship with the landscape painter Simon Denis (1755-1813), who also attended Antonissen's studio, dates from this period.

Ommeganck was a talented and highly successful artist who gave a new breadth and vigour to landscape painting in the Low Countries. He developed a new expressive range combining the light found in the work of the Dutch Italianate painters of the 17th century with detailed observation of the hills and vales of the Ardennes. With great skill he resolved the conflict between an idealized view of nature and his concern for realism. The original formula that Ommeganck invented was widely copied in the 18th century and early 19th.

Ommeganck's early landscapes tended to be imaginary, evoking a world of dream and fantasy. Later his subjects became more realistic and lost something of their lyrical sweep (e.g. Landscape with Sheep and a Hay Wagon, exhibited 1824; Amsterdam, Rijksmuseum). They are nevertheless highly engaging; Ommeganck never tired of pictorial effects such as the play of warm light, aerial perspective and undergrowth in shadow. In general he preferred undulating landscapes. His settings were picturesque, but they always had a foundation in reality. He favoured such locations as the banks of the River Meuse and its tributaries around Liège, Namur and the Belgian area of Luxembourg. Ommeganck's output was prodigious. He painted for the most part on small wooden panels, but there are exceptions, such as the superb Landscape with a Wooden Bridge (1791; Brussels, Galerie Arenberg), a large-scale work on canvas. Here as elsewhere he showed a painstaking attention to detail, a sure line and subtle use of colour, and he unified the realities of peasant life with idealized nature under an evening light, of which he was particularly fond.

Ommeganck's active public life had a determining influence on his career. During the debate in 1773 on the future course of Flemish painting, he sided with the traditionalists against the new Neo-classical faction headed by Andries-Cornelis Lens. In 1788 he helped to found the Konstmaetschappij, an association that organized art exhbitions, and when it was renamed the Société Royale d'Anvers pour l'Encouragement des Beaux-Arts he became vice-president. In 1796 he was appointed professor at the opening of the Antwerp Ecole Spéciale de Peinture, Sculpture et Architecture. After it was reorganized and reinstated as an academy in 1804, he joined the governing board.

By 1799 Ommeganck had an international reputation, winning a first prize in Paris. He exhibited at the Paris Salons of 1808 and 1809, and the French state acquired Landscape with Goats and Sheep (exhibited 1809; Paris, Louvre). He received a succession of honours: he was made a corresponding member of the Institut de France, associate member of the Imperial Academy of Vienna in 1812 and an honorary member of the Brussels Société pour l'Encouragement des Beaux-Arts in 1816. He went to Paris in 1815 to recover works of art taken from Antwerp by the French. Ommeganck had many pupils. Among the most outstanding were Jean-Baptiste de Jonghe, Eugène Verboeckhoven and Julien-Joseph Ducorron (1770-1848).

Collection
Ommeganck is represented in the following collections: Galerie Arenberg, Brussels; Musées Royaux des Beaux-Arts de Belgique, amongst others.

Source:
Sphinx Fine Art
http://www.sphinxfineart.com/Ommeganck-Balthasar-Paul-Desktop


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