Jan Miel (beveren-waas, 1599 - Turin, 1663) Roman Countryside Landscape With Farrier

Jan Miel (Beveren-Waas, 1599 - Turin, 1663)
Roman countryside landscape with farrier
Oil on canvas, cm 114,5 x 146
With frame, cm 132 x 162
Published on the portal of the Nederlands Instituut voor Kunstgeschiedenis (RKD) - https://rkd.nl/imageslite/536229
Jan Miel also known as Giovanni Miel or Giovannino delle Vite (Beveren-Waas, 1599 - Turin, 1663) was a Flemish painter active in Italy, especially in Rome, in the group of the Scuola dei Bamboccianti, whose main exponent was Pieter van Laer, artist who spread the interest of representing the daily life of the Eternal City. 
Born in Beveren-Waas (Antwerp) in 1599, a pupil of Gerard Seghers and probably also of Antoon van Dyck, Miel is documented in Rome from 1636 (although it is probable that he had already arrived three years before)influenced by that generation of Dutch and Flemish artists who landed in the capital driven by the desire to implement a deep meditation on naturalistic painting and genre. 
Typical of the School was the portrayal of popular scenes of common life of papal Rome, with particular attention to the humble world of farmers, hunters and housewives and to the one relegated to the margins of society including ruffians, thieves, players and cheats, prostitutes, beggars and vagrants, bringing them closer to the classic revival of the ruins of Roman times. The patronage came mainly from the nobility and the upper middle class, eager to raise their social status.
Although his production was for a long time confused with that of Michelangelo Cerquozzi and the founder Van Laer, in Rome Miel knew a great fortune. He became a member of the Accademia di San Luca and of the Accademia dei Virtuosi at the Pantheon where, in addition to performing numerous genre scenes, he also received public commissions for S. Martino ai Monti (1651), S. Maria dell'Anima (1650-3) and S. Lorenzo in Lucina (1654 ca.). Among the most prestigious tasks entrusted to him were, first, the decoration of Palazzo Barberini and later, in the early fifties of the century, the involvement on behalf of Pietro da Cortona (who included him among the so-called "most famous painters of those times") in the yard of the decoration of the gallery of Pope Alexander XVII of the Quirinal Palace. 
In 1658 the Duke of Savoy Carlo Emanuele II called him to Turin to decorate the Royal Palace of Turin and the Palace of Venaria, then under construction. At the Reggia di Venaria he painted a cycle of frescoes on the vault of the central Salone di Diana and, in the same hall, ten paintings dedicated to the duke’s hunts. 
The canvas in question, depicting a landscape of the Roman countryside with blacksmith, expresses, in fact, the typical characters of the Flemish master, not only for its adherence to the childish ways, but also for the drafting of the color and the typologies physionomiche of the characters represented. The work, generous in size, allows you to appreciate the care and detail with which the artist describes the landscape near the Aurelian Walls, the protagonists with their gestures and the humble clothing, the animal world of horses, donkeys and dogs: all attentions that denote a vision and a study from life, without literary filters, but with marked naturalism not judged dismissively as anecdotal or gender. The deeply realistic commitment and seriousness with which he depicts a miserable humanity without yielding to the taste for the grotesque distinguishes the work from the most typical bambocciate, transforming the canvas into a valuable testimony of daily life, as well as geographical as were the Roman countryside in the seventeenth century. 
The object is in good condition
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