Toutes peintures ā l'huile d'Jean-Baptiste Van Mour
ID Image Painting(From A to Z)    Details 
91205  
Jean-Baptiste Van Mour, Der Gesandte Cornelis Calkoen begibt sich zur Audienz beim Sultan Ahmed III.
  		 Der Gesandte Cornelis Calkoen begibt sich zur Audienz beim Sultan Ahmed III.   1727(1727) Medium oil on canvas Dimensions Deutsch: 91,5 x 125 cm cjr
91822  
Jean-Baptiste Van Mour, Der Zug des Grobwesirs uberquert den Ameydan
  		 Der Zug des Grobwesirs uberquert den Ameydan   first half of 18th century Medium oil on canvas Dimensions 61 X 84,5 cm cjr
83345  
Jean-Baptiste Van Mour, Die Kinder des Vicomte d'Andrezel
  		 Die Kinder des Vicomte d'Andrezel   Oil on canvas Dimensions Deutsch: 90 x 118 cm cyf
83335  
Jean-Baptiste Van Mour, Harem scene with the Sultan
  		 Harem scene with the Sultan   Date Deutsch: 1. Hälfte 18. Jh. cyf
39937  
Jean-Baptiste Van Mour, Portrait of a Black Dignitary
  		 Portrait of a Black Dignitary   mk155 undated Oil on wood 33x26cm
39936  
Jean-Baptiste Van Mour, Portrait of Lady Montagu
  		 Portrait of Lady Montagu   mk155 33x25cm
83684  
Jean-Baptiste Van Mour, The Mufti of Constantinople
  		 The Mufti of Constantinople   Date 1737 cyf
Jean-Baptiste Van Mour
17th Century Painters of the Bosporus,was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III. Van Mour was a native of Valenciennes, a Flemish town that at he time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gerin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour was invited to go to Istanbul when De Ferriol was appointed there as the French Ambassador in 1699. De Ferriol commissioned van Mour to do one hundred portraits of the local people. In 1711 De Ferriol returned to France and van Mour worked for a variety of other diplomats. In the meantime De Ferriol published a series of one hundred engravings (after the paintings) in Recueil de cent estampes representant differentes nations du Levant. The book had a great influence in Western Europe and was published in at least five languages. Painting audiences with the Sultan became van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government. In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Jean-Baptiste van Mour with him, when he was appointed as ambassador in Dresden for the Dutch Republic. In his will of 1762 the bachelor Calkoen forbade his heirs to sell the paintings, which are now part of the Rijksmuseum collection.



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