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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Jean-Baptiste Van Mour Portrait of Lady Montagu oil painting


Portrait of Lady Montagu
mk155 33x25cm
Painting ID::  39936 		Jean-Baptiste Van Mour
Portrait of Lady Montagu
mk155 33x25cm
   
   
     
Jean-Baptiste Van Mour Portrait of a Black Dignitary oil painting


Portrait of a Black Dignitary
mk155 undated Oil on wood 33x26cm
Painting ID::  39937 		Jean-Baptiste Van Mour
Portrait of a Black Dignitary
mk155 undated Oil on wood 33x26cm
   
   
     
Jean-Baptiste Van Mour Harem scene with the Sultan oil painting


Harem scene with the Sultan
Date Deutsch: 1. Hälfte 18. Jh. cyf
Painting ID::  83335 		Jean-Baptiste Van Mour
Harem scene with the Sultan
Date Deutsch: 1. Hälfte 18. Jh. cyf
   
   
     
Jean-Baptiste Van Mour Die Kinder des Vicomte d'Andrezel oil painting


Die Kinder des Vicomte d'Andrezel
Oil on canvas Dimensions Deutsch: 90 x 118 cm cyf
Painting ID::  83345 		Jean-Baptiste Van Mour
Die Kinder des Vicomte d'Andrezel
Oil on canvas Dimensions Deutsch: 90 x 118 cm cyf
   
   
     
Jean-Baptiste Van Mour The Mufti of Constantinople oil painting


The Mufti of Constantinople
Date 1737 cyf
Painting ID::  83684 		Jean-Baptiste Van Mour
The Mufti of Constantinople
Date 1737 cyf
   
   
     
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     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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