Jean-Baptiste Vanmour was born in Valenciennes, which was then under the rule of the Spanish Netherlands. A few years later the Flemish city was placed under French rule. Vanmour's paintings are ascribed to Orientalism and are considered to be a detailed depiction of life in the Ottoman Empire of the time. Little is known about Vanmour's early years and education. He studied in the studio of Jacques-Albert Gérin. During this time, the Marquis Charles de Ferriol must have become aware of his talent. When he was appointed ambassador in 1699 and left for Constantinople, he took the then 18-year-old Vanmour with him. There he commissioned him with a total of 100 oil paintings, which were to document the life of the local population. Vanmour painted not only the Ottoman elite, but also the whole range of different cultures, religions and nationalities that lived in Constantinople at that time. Among them were paintings like "The Armenian Wedding", "Whirling Dervishes" or portraits of "Patrona Halil", a resistance fighter.
After about 12 years, the Marquis had to return to France after a faux pas during an audience with the Sultan. Vanmour, however, remained in Constantinople and from then on worked for various other diplomats. He did not limit his services to French diplomats, but also worked for Dutch, Austrian and Venetian ambassadors. At that time, the Ottoman Empire was extremely fascinating to Western Europeans. Therefore, many wanted to record their audiences with the Sultan or the Grand Vizier for eternity. So Vanmour specialized in this kind of pictures. Since he often had to retain the scenes and only had to adapt the faces and clothing of the people, he was able to produce hundreds of pictures of this kind. However, he received so many commissions that he was forced to hire assistants to support him in his work.
Based on Vanmour's works, Le Hay produced a series of 100 copperplate engravings in 1714, which he compiled into a book. The work was so successful that it was translated into 5 languages. For Vanmour this meant a further increase in his popularity. He was one of the few who was allowed to attend the audience of the Dutch ambassador Cornelis Calkoen with the sultan in the throne room. This indicates that Vanmour must have been very familiar with the strict court protocol. Vanmour produced a total of 70 paintings for Calkoen. Convinced of their value, Calkoen instructed in his will that the paintings should never be sold. Vanmour remained in the Ottoman Empire until his death. For his merits and the impressive documentation of the culture there, the king awarded him the title of Peintre Ordinaire du Roy en Levante. Unfortunately for Vanmour, however, the title had only a symbolic character and, unlike other painters in royal service, did not earn him any payment.
Jean-Baptiste Vanmour was born in Valenciennes, which was then under the rule of the Spanish Netherlands. A few years later the Flemish city was placed under French rule. Vanmour's paintings are ascribed to Orientalism and are considered to be a detailed depiction of life in the Ottoman Empire of the time. Little is known about Vanmour's early years and education. He studied in the studio of Jacques-Albert Gérin. During this time, the Marquis Charles de Ferriol must have become aware of his talent. When he was appointed ambassador in 1699 and left for Constantinople, he took the then 18-year-old Vanmour with him. There he commissioned him with a total of 100 oil paintings, which were to document the life of the local population. Vanmour painted not only the Ottoman elite, but also the whole range of different cultures, religions and nationalities that lived in Constantinople at that time. Among them were paintings like "The Armenian Wedding", "Whirling Dervishes" or portraits of "Patrona Halil", a resistance fighter.
After about 12 years, the Marquis had to return to France after a faux pas during an audience with the Sultan. Vanmour, however, remained in Constantinople and from then on worked for various other diplomats. He did not limit his services to French diplomats, but also worked for Dutch, Austrian and Venetian ambassadors. At that time, the Ottoman Empire was extremely fascinating to Western Europeans. Therefore, many wanted to record their audiences with the Sultan or the Grand Vizier for eternity. So Vanmour specialized in this kind of pictures. Since he often had to retain the scenes and only had to adapt the faces and clothing of the people, he was able to produce hundreds of pictures of this kind. However, he received so many commissions that he was forced to hire assistants to support him in his work.
Based on Vanmour's works, Le Hay produced a series of 100 copperplate engravings in 1714, which he compiled into a book. The work was so successful that it was translated into 5 languages. For Vanmour this meant a further increase in his popularity. He was one of the few who was allowed to attend the audience of the Dutch ambassador Cornelis Calkoen with the sultan in the throne room. This indicates that Vanmour must have been very familiar with the strict court protocol. Vanmour produced a total of 70 paintings for Calkoen. Convinced of their value, Calkoen instructed in his will that the paintings should never be sold. Vanmour remained in the Ottoman Empire until his death. For his merits and the impressive documentation of the culture there, the king awarded him the title of Peintre Ordinaire du Roy en Levante. Unfortunately for Vanmour, however, the title had only a symbolic character and, unlike other painters in royal service, did not earn him any payment.
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