Lieven Mehus, also known by his Italianized name Livio Mehus or variants like Lieven and Livius Meus, stands as a fascinating example of the cross-pollination of artistic traditions in 17th-century Europe. Born in Oudenaarde, a city in the Flemish province of East Flanders, around 1630, Mehus would spend the most significant part of his career in Italy, particularly in Florence, where he died on August 7, 1691. His journey from the Southern Netherlands to the heart of the Italian Renaissance and Baroque movements shaped a unique artistic voice, one that blended Flemish sensibilities with the grandeur and dynamism of Italian art.
Early Life and Artistic Pilgrimage
The precise details of Mehus's earliest years and initial training in Flanders are not extensively documented, a common reality for many artists of the period before they achieved significant recognition. However, it is known that Oudenaarde, his birthplace, had a rich tradition of tapestry weaving and was not far from major artistic centers like Ghent, Bruges, and Antwerp, where figures like Peter Paul Rubens and Anthony van Dyck had recently dominated the art scene. This environment would have undoubtedly exposed a young, artistically inclined individual to a high level of craftsmanship and artistic ambition.
Like many Northern European artists of his time, Mehus was drawn to Italy, the wellspring of classical antiquity and the crucible of the Renaissance and the burgeoning Baroque style. This pilgrimage south was almost a rite of passage for ambitious painters, sculptors, and architects seeking to study the masterpieces of the past and immerse themselves in the vibrant contemporary art scenes of Rome, Florence, and Venice. Mehus's decision to travel to Italy was pivotal, marking a definitive shift in his artistic development and career trajectory.
Formation in Italy: Esteemed Mentors
Upon arriving in Italy, Mehus sought out instruction from some of the leading figures of the time. His tutelage under Stefano della Bella (1610-1664) was significant. Della Bella, a Florentine by birth, was a prolific printmaker and draughtsman, known for his intricate etchings of a wide array of subjects, including battles, courtly festivities, landscapes, and animal studies. His style was characterized by a delicate line and keen observational skills. Training with della Bella would have honed Mehus's draughtsmanship and his ability to capture detail and narrative complexity. Della Bella himself had spent time in Paris, absorbing French artistic currents, adding another layer to the influences Mehus would encounter.
Perhaps even more formative was Mehus's association with Pietro da Cortona (1596/7-1669). Cortona was one of the towering figures of the Italian High Baroque, a versatile artist excelling as a painter and architect. His ceiling frescoes, such as the "Allegory of Divine Providence and Barberini Power" in the Palazzo Barberini in Rome, are celebrated for their exuberant energy, illusionistic depth, and complex allegorical programs. Cortona's style was characterized by a rich, warm palette, dynamic compositions, and a sense of grandeur that defined the Baroque aesthetic. Studying with Cortona would have immersed Mehus in the mainstream of Roman Baroque painting, exposing him to large-scale decorative projects and the sophisticated iconographic language of the era. This experience was crucial in shaping Mehus's own approach to composition, color, and dramatic expression.
The influence of these masters is discernible in Mehus's work. From della Bella, he may have absorbed a certain finesse in detail and narrative, while Cortona's impact is evident in the dynamism, rich coloration, and often theatrical quality of Mehus's paintings.
The Florentine Years
Around 1660, Lieven Mehus established himself in Florence. This city, while perhaps past its zenith as the undisputed leader of the Italian Renaissance, remained a vital artistic center with a rich heritage and ongoing patronage, particularly from the Medici family. The Medici collections were legendary, offering artists unparalleled access to masterpieces of antiquity and the Renaissance. For Mehus, Florence became his primary base of operations for the remainder of his life.
His activity in Florence saw him undertake various commissions, including religious scenes, allegorical compositions, and portraits. The artistic environment in Florence at this time was complex. While the High Baroque impulses from Rome were influential, Florence also maintained its own traditions, often characterized by a strong emphasis on disegno (drawing and design) and a certain intellectual refinement. Artists like Carlo Dolci (1616-1686), known for his highly polished and devotional paintings, were prominent in Florence. Mehus would have navigated this environment, contributing his unique blend of Flemish and Roman-Baroque influences.
One interesting note from his Florentine period is a mention of a pastel work commissioned by Robert Nanteuil (1623-1678), a preeminent French portrait engraver and pastellist. This suggests Mehus was proficient in the pastel medium and connected with prominent international artists. The inscription on the back of this work was reportedly difficult to decipher. The connection to Nanteuil might have been facilitated through Antonio Tempesta (1555-1630), an earlier Florentine painter and etcher, though the chronology makes a direct link between Mehus and Tempesta (who died when Mehus was an infant) unlikely; perhaps it refers to Tempesta's enduring influence or school.
It is also recorded that one of Mehus's works was copied by a certain Tantfani (likely a misspelling or a lesser-known artist) for the Medici gallery, indicating that his paintings were esteemed enough to be replicated for one of the most prestigious collections in Europe.
Artistic Style: A Synthesis of Traditions
Lieven Mehus's artistic style is a compelling fusion of various influences, resulting in a distinctive visual language. It is often described as combining the lightness and grace associated with certain facets of Italian Baroque art with the rich, often luminous, color characteristic of the Venetian school and, by extension, Flemish painting which itself had deep connections to Venetian colorism through figures like Rubens.
A hallmark of Mehus's style is his penchant for dramatic and emotionally charged expressions. He did not shy away from exaggerating gestures or facial features to heighten the narrative impact of his scenes. This theatricality is a key component of the Baroque aesthetic, aiming to engage the viewer directly and evoke a strong emotional response. His compositions are often dynamic, with figures in motion and a sense of energy pervading the canvas.
The influence of Caravaggio (1571-1610), though from an earlier generation, can also be felt, particularly in the use of chiaroscuro – strong contrasts between light and shadow – to model forms and create dramatic emphasis. While Mehus's palette was generally richer and more varied than Caravaggio's more tenebrous works, the strategic use of light to highlight key elements and create a sense of volume is a shared characteristic.
His travels and studies, particularly in Rome where he studied ancient art, and his time in Venice, informed his approach. The "ethereal classicism" of Roman art and the "richness of color" from the Venetian tradition (artists like Titian, Veronese, and Tintoretto had set a standard for color that resonated for centuries) were elements he skillfully integrated. This ability to synthesize diverse influences – Flemish roots, Roman High Baroque training, Venetian color, and classical studies – marks him as an artist of considerable sophistication.
Major Works and Thematic Concerns
Lieven Mehus produced a body of work that spanned religious subjects, allegories, and portraiture. Several key paintings exemplify his style and thematic interests.
"The Genius of Painting" (also referred to as "The Genius of Sculpture," "Genio della Pittura," or "Genio della Poesia")
This is arguably one of Mehus's most significant and complex works, believed to have been painted in the 1650s. The painting depicts a young man, possibly a self-portrait or an allegorical figure representing the artist, gesturing towards three renowned ancient sculptures: a bronze version of the Athena Promachos, a relief from the Arch of Titus, and the lower part of the colossal Farnese Hercules. In the lower-left corner, a small winged genius, crowned with a laurel wreath, is diligently sketching these sculptures.
The painting is rich in symbolism. It speaks to the importance of studying classical antiquity as a foundation for artistic excellence – a core tenet of academic art theory from the Renaissance onwards. The act of the genius sketching directly from the sculptures underscores the idea that true understanding and mastery ("the secrets of form and matter") come from direct observation and diligent study. The work also carries a deeper philosophical message, reflecting Stoic ideas about the finite nature of human destiny while simultaneously asserting the potential for the artist to achieve immortality through their creations. The figures are rendered with precision, and the composition is carefully balanced, showcasing Mehus's technical skill and intellectual depth. This work clearly demonstrates his engagement with the classical tradition, similar to French artists active in Rome like Nicolas Poussin (1594-1665) and Claude Lorrain (1600-1682), who also drew profound inspiration from antiquity, albeit often with a more measured and classical composure than the typically more exuberant Baroque.
This painting tackles a popular biblical theme, depicting the Holy Family's journey to escape Herod's persecution. Mehus's rendition is noted for its dynamic composition and vibrant, warm colors. The scene is imbued with a sense of movement and urgency, yet also a tender intimacy between Mary, Joseph, and the infant Christ. The bright, hopeful palette contrasts with the inherent danger of their situation, showcasing Mehus's ability to convey complex emotions. The handling of light and the flowing drapery are characteristic of his Baroque tendencies, creating a visually engaging and emotionally resonant image. Such religious narratives were a staple for artists of the period, with contemporaries like Luca Giordano (1634-1705) in Naples or Carlo Maratta (1625-1713) in Rome also producing numerous works on similar themes, each with their distinct stylistic inflections.
"Saint Peter of Alcántara Giving Communion to Saint Teresa of Ávila"
This work highlights Mehus's skill in portraying intense religious devotion. Saint Peter of Alcántara and Saint Teresa of Ávila were prominent figures of the Catholic Reformation, known for their mystical experiences and reforms within the Carmelite Order. Mehus captures a moment of profound spiritual significance, likely emphasizing the ecstatic nature of their faith. The composition would be designed to draw the viewer into the sacred event, using expressive gestures and focused lighting to convey the spiritual intensity. The dramatic flair evident here aligns with the broader Counter-Reformation artistic aims, which sought to inspire piety and awe through powerful visual storytelling, a goal shared by artists across Catholic Europe, from Spain (e.g., Francisco de Zurbarán) to Flanders (e.g., Rubens).
Other Notable Works:
Mehus's oeuvre includes a range of other paintings, each contributing to our understanding of his artistic scope:
"Christ in the Wilderness": A subject allowing for contemplation on Christ's solitude and temptation, often set within a landscape that could showcase the artist's skill in rendering nature.
"The Last Prayer of Saint Andrew": Depicting the martyrdom of an apostle, this theme offered opportunities for dramatic composition and the portrayal of faith in the face of suffering.
"Adoration of the Shepherds": Described as a painting for private devotion, this suggests a more intimate scale and perhaps a focus on tender piety. The subject was a favorite, allowing for a blend of rustic realism with divine mystery.
"Ultima Comunione della Madre Maggiore" (The Last Communion of the Mother Superior) and "The Holy Communion of Mary Magdalene": These titles suggest a focus on moments of ultimate spiritual union and penitence, themes that resonated deeply within Counter-Reformation spirituality.
"Paesaggio" (Landscape): The existence of landscape paintings indicates Mehus's versatility. While often secondary in Italian art of this period compared to history painting, landscape was gaining prominence, influenced by Northern artists in Italy (the "Italianates" like Jan Both or Herman van Swanevelt) and by French masters like Claude Lorrain and Gaspard Dughet.
"The Blind Man of Gambassi" (Il Cieco di Gambassi): This work, housed in a private collection in Gambassi, suggests Mehus also tackled genre-like subjects or portraits with a strong narrative or character element.
These works, taken together, demonstrate Mehus's engagement with the principal themes of his time, executed with a style that was both informed by his training and distinctly his own. His ability to convey pathos, drama, and spiritual depth made him a capable contributor to the religious and allegorical art of the Italian Baroque.
Teaching and Legacy
Lieven Mehus also engaged in teaching, passing on his knowledge and skills to the next generation. His most notable documented student was Giovanna Fratellini (1666-1731). Fratellini, born Giovanna Marmocchini Cortesi, became a highly respected painter in Florence, particularly known for her portraits in pastel, oil, and miniature. She was appointed court painter to Vittoria della Rovere, Grand Duchess of Tuscany, and later to Grand Duke Cosimo III de' Medici. The fact that Mehus trained such a successful female artist is noteworthy, as opportunities for women in the arts, while expanding, were still limited. Fratellini's success, especially in the refined art of pastel portraiture, speaks to the quality of instruction she received, likely including Mehus's own proficiency in that medium.
Mehus's works found their way into significant collections, most notably the Uffizi Gallery in Florence, one of the world's oldest and most renowned art museums. The presence of his paintings in such a prestigious institution underscores his contemporary recognition and his lasting place in the history of Florentine art.
While perhaps not as universally famous today as some of his Italian contemporaries like Bernini in sculpture or Caravaggio in painting from an earlier generation, Lieven Mehus represents an important strand in the complex tapestry of 17th-century European art. He was one of many talented artists who contributed to the richness and diversity of the Baroque period. His career exemplifies the fruitful exchange between Northern European and Italian artistic traditions, a phenomenon that enriched the art of both regions. Artists like Mehus, who successfully assimilated into the Italian art world while retaining elements of their native heritage, played a crucial role in the dissemination and evolution of artistic styles.
His legacy lies in his skillful synthesis of Flemish and Italian elements, his contribution to the Florentine art scene, and his role as an educator. His paintings, with their dramatic compositions, rich colors, and emotional depth, continue to be appreciated by scholars and art enthusiasts. He stands as a testament to the vibrant, international character of the Baroque art world, where artists traveled, learned, and created, transcending geographical boundaries to forge new visual languages. His contemporary, Salvator Rosa (1615-1673), active in Naples, Rome, and Florence, offers an interesting parallel as an artist known for his independent spirit and distinctive style, particularly in his wild landscapes and proto-Romantic scenes, showcasing the diversity of artistic personalities active in Italy during Mehus's time. Similarly, the meticulous and devout works of the Florentine Carlo Dolci provide a contrast, highlighting the varied artistic paths pursued within the same city.
Conclusion: An Enduring Contribution
Lieven Mehus's life and work offer a window into the dynamic art world of 17th-century Italy. From his Flemish origins to his established career in Florence, he navigated and contributed to one of the most fertile periods in art history. His training under masters like Stefano della Bella and Pietro da Cortona provided him with a strong foundation in draughtsmanship and the principles of High Baroque composition. He skillfully blended these Italian influences with a Northern European sensibility for color and, at times, a particular intensity of expression.
His representative works, such as "The Genius of Painting" and "Flight into Egypt," showcase his technical abilities, his intellectual engagement with classical and religious themes, and his capacity for dramatic storytelling. He was an artist who understood the power of art to convey profound emotions and complex ideas, utilizing the expressive vocabulary of the Baroque to its full potential.
Though he may not have achieved the revolutionary fame of a Caravaggio or the universal renown of a Rubens, Lieven Mehus carved out a significant niche for himself. His paintings in esteemed collections like the Uffizi, and his role in training successful artists like Giovanna Fratellini, attest to his contemporary importance and enduring legacy. He remains a figure worthy of study, representing the many talented individuals who enriched the artistic landscape of their time through dedication, skill, and a unique fusion of cultural influences. His art continues to speak to us of an era of immense creativity and profound faith, a period when artists like him helped to define the visual culture of Baroque Europe.
