In his youth, the Flemish artist Gerard Seghers studied in Antwerp. At a very early age — he was only 17 years old — he was admitted to the Guild of St. Luke, a professional association of artists. The membership gave important advantages: a painter could open a workshop, officially sell his paintings, and teach. The guild also provided aid and protection.
Seghers completed his art education in Rome. In 1611–1621, he worked in Spain and Italy, where he became especially interested in the art of the famous Italian Michelangelo Caravaggio. During this period, he portrayed soldiers playing cards and dice, musicians and singers.
After 1630, the artist’s color palette became much lighter under the influence of Peter Paul Rubens. The influence of Rubens can be detected in one of the most celebrated works of the master — “The Adoration of the Magi”, which is housed in the Church of Our Lady in Bruges. At that time, the artist painted numerous altarpieces for churches and monasteries in Flanders and Germany, as well as created paintings depicting contemporary and ancient architecture.
In the painting “Card Players”, which is housed by Irkutsk Art Museum, Seghers followed the traditions of Caravaggism. The stylistic adherents of this trend sought to make an accurate depiction of their subject matter; they represented the objects in a conspicuously realistic manner. Their works lack the theatrical qualities of the Baroque — elegant costumes, fluffy dresses, scroll ornaments. In their work, Caravaggio and his followers pay the utmost attention to rendering the volume of the figures, and to exploring the sharp contrast of light and shadow. As a rule, they put the light human silhouettes against a dark, almost black background. Despite the simplicity of the scenes, which the Caravaggisti depicted, there is dramatic power in the paintings of this style.
“Card Players” is a vivid example of the composition that is typical for Seghers — large-scale figures are featured against a dark background without any depth of space. The flickering reflections from the candle flame create a stark contrast of light and shadow, making the participants of this carefree pastime look somewhat excited and agitated. The structure of the composition is such that the viewers get the feeling that they are included inside the painting and involved in the experience.
Seghers completed his art education in Rome. In 1611–1621, he worked in Spain and Italy, where he became especially interested in the art of the famous Italian Michelangelo Caravaggio. During this period, he portrayed soldiers playing cards and dice, musicians and singers.
After 1630, the artist’s color palette became much lighter under the influence of Peter Paul Rubens. The influence of Rubens can be detected in one of the most celebrated works of the master — “The Adoration of the Magi”, which is housed in the Church of Our Lady in Bruges. At that time, the artist painted numerous altarpieces for churches and monasteries in Flanders and Germany, as well as created paintings depicting contemporary and ancient architecture.
In the painting “Card Players”, which is housed by Irkutsk Art Museum, Seghers followed the traditions of Caravaggism. The stylistic adherents of this trend sought to make an accurate depiction of their subject matter; they represented the objects in a conspicuously realistic manner. Their works lack the theatrical qualities of the Baroque — elegant costumes, fluffy dresses, scroll ornaments. In their work, Caravaggio and his followers pay the utmost attention to rendering the volume of the figures, and to exploring the sharp contrast of light and shadow. As a rule, they put the light human silhouettes against a dark, almost black background. Despite the simplicity of the scenes, which the Caravaggisti depicted, there is dramatic power in the paintings of this style.
“Card Players” is a vivid example of the composition that is typical for Seghers — large-scale figures are featured against a dark background without any depth of space. The flickering reflections from the candle flame create a stark contrast of light and shadow, making the participants of this carefree pastime look somewhat excited and agitated. The structure of the composition is such that the viewers get the feeling that they are included inside the painting and involved in the experience.
