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23-639: The Ommegang in Antwerp originated in the 14th century and is held on 15 August. There were two Ommegang processions held in Antwerp each year: In the 15th, 16th and 17th century the Ommegang of Antwerp was the most important in Flanders. The "Onze Lieve Vrouwommegang" consisted originally of two events: the first celebrated the religious feast of the Assumption of Mary. The second was a large, opulent secular participation of

46-576: A sleigh pulled by a horse, a man defecating on the ice who is being chased away and a couple of men engaged in a brawl. Fellow Antwerp artist Sebastiaen Vrancx (1573–1647) painted half a century earlier the Ice pleasure on the Scheldt in Antwerp ( Rijksmuseum , Amsterdam) showing a similar view of Antwerp's citizens having fun on the Scheldt. Erasmus de Bie was an accomplished painter of figures and often collaborated with other artists in Antwerp for whom he painted

69-425: A winter landscape of the river Scheldt , seen from the Antwerp quays. The Scheld is frozen solid and several tents and pavilions selling all kinds of food have been constructed on the ice. Several inhabitants of Antwerp are seen playing on the icy river, enjoying banquets and engaging in other amusements during the winter of 1670. The artist depicts various amusing scenes such as a woman on the verge of falling out of

92-610: Is an Italianate landscape set among Roman buildings and populated with many figures and animals. The scene is reminiscent of the work of the group of genre painters active in Rome known as the Bamboccianti . The National Inventory of Continental European paintings records that there is an inscription on the front lower left of the painting reading 'ED · BIE - 1643', which is similar to the known signature of another Flemish painter called Erasmus de Bie . However, it seems unlikely that Erasmus who

115-586: Is known for his lively city scenes and genre scenes and some landscape paintings. He is also mentioned as the creator of religious scenes and compositions with animals. He is also mentioned as the author of at least one winterscape and two seascapes. It is not clear whether the views of Italianate cities and landscapes attributed to him are the work of Adriaen de Bie , a Flemish painter from Lier who worked in Italy for some time. His surviving signatures are in capital letters: ED (in ligature) BIE. His main specialty

138-566: Is part of the Cavalcade of Hanswijck in Mechelen . The Ommegang element evolved from the annual procession around the city walls held since 1330 as a token of gratitude to Mechelen's patron Saint Rumbold who 'miraculously' ended a siege. A Ros Beiaard which is smaller but older than the one in Dendermonde is mounted in the same manner and the 'family' of six city giants stands out. As in other cities,

161-399: Is similar to Erasmus de Bie's known signature. However, it seems unlikely that a 14-year old who had not travelled outside Antwerp would have been able to paint a painting of this scale and scope. It is therefore possible that the painting was the work of Adriaen de Bie , a Flemish painter from Lier, Belgium who worked in Italy between 1614 and 1622. The work is attributed to Adriaen de Bie on

184-520: Is the Ros Beiaard Ommegang in Dendermonde . In this ommegang, which is held every ten years, a giant wooden horse is displayed in the town centre. Four boys from the same family of Dendermonde have the honour to 'ride' the horse while it is on display. The annual Ducasse at Ath has one of the largest of city giants: Gouyasse (Goliath). An infrequent Ommegang, only held once every 25 years,

207-643: The Campo Vaccino in Rome showing a myriad of figures on the Forum Romanum in the collection of the Victoria Art Gallery ( Bath, Somerset ) is attributed to him on the museum's website and on the National Inventory of Continental European paintings. The National Inventory of Continental European paintings records that there is an inscription on the front lower left reading 'ED · BIE - 1643', which

230-519: The St. Gummarus church above the altar of St. Eligius , the patron saint of goldsmiths. He died in Lier on 20 October 1668. Very few of Adriaen de Bie's works have survived. He painted in Rome small cabinet pieces, a type of painting for which there was a great demand in Rome at the beginning of the 17th century. It is possible that Adriaen de Bie's choice of support and size was influenced by Adam Elsheimer who

253-399: The staffage . This is documented in the papers of the Antwerp art dealers Forchondt , which mention two anonymous church interiors with figures painted by de Bie. He may have produced Italianate landscapes set among Roman buildings and populated with many figures and animals reminiscent of the style of the group of genre painters active in Rome known as the Bamboccianti . A painting of

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276-465: The Art UK website and in various publications. [REDACTED] Media related to Erasmus de Bie at Wikimedia Commons Adriaen de Bie Adriaen de Bie (3 October 1593 – 20 October 1668) was a Flemish painter, who is known for portraits, biblical scenes for churches and Italianate landscapes. In his youth he travelled to Paris and resided for a long period in Italy. He trained in Antwerp and

299-638: The Younger and Pieter van Aelst . The Ommegang of Brussels is celebrated every July in Brussels . According to legend, the origin of the Ommegang of Brussels goes back to a local devout woman named Beatrijs Soetkens. She had a vision in which the Virgin Mary instructed her to steal the miraculous statue of Onze-Lieve-Vrouw op 't Stocxken ("Our Lady on the little stick") in Antwerp , bring it to Brussels, and place it in

322-567: The chapel of the Crossbowmen's Guild in the Sablon / Zavel district. The woman stole the statue, and through a series of miraculous events, was able to transport it to Brussels by boat in 1348. It was then solemnly placed in the chapel and venerated as the patron of the Guild. The Guild also promised to hold an annual procession, called an Ommegang , in which the statue was carried through Brussels. Through

345-873: The commemoration became located largely within its centre. An Ommegang is held every twenty-five years to commemorate the transfer of the relics of Saints Herlindis and Relindis from the Sint-Anna Church in Aldeneik to Sint-Catharinakerk in Maaseik. The most recent was held in 2022. Many of these traditions in Belgium and (with only two exceptions, formerly Flemish northern) France are protected as an oral and immaterial cultural legacy by UNESCO , with reference to physical artefacts such as Giants and Dragons (the latter referring to any kind of mythical animals) carried by humans. Erasmus de Bie Erasmus de Bie (1629–1675)

368-586: The following decades, what was originally a religious procession took on gradually a more worldly outlook. The Ommegang of 1549 corresponds to a golden age of the procession. From the mid-16th century, the Ommegang not only celebrated the miraculous legend, but became intertwined with the Joyous Entry of Holy Roman Emperor Charles V . The Ommegang thus developed into an important religious and civil event in Brussels' annual calendar. Another famous Ommegang in Belgium

391-547: The guilds, crafts and chambers of rhetoric, each of which contributed a float to a procession through the streets of Antwerp. Some floats contained references to events of the preceding year. There was considerable rivalry between the guilds in their efforts to provide the most splendid display. In the 17th century the Ommegang of Antwerp comprised these elements in the following order: The Ommegang in Antwerp has been depicted in several paintings by Antwerp artists such as Erasmus de Bie , Alexander van Bredael , Alexander Casteels

414-415: Was a Flemish Baroque painter known for his city views and genre scenes. He depicted several lively scenes of large public celebrations in his hometown of Antwerp. It is not clear whether the views of Italianate cities and landscapes attributed to him are the work of Adriaen de Bie , a Flemish painter from Lier who worked in Italy for a while. Very little is known about the life of Erasmus de Bie. He

437-757: Was born in Antwerp , the son of the painter Frans de Bie the Elder. He was baptised on 20 December 1629 in the St. Walburga church in Antwerp . He became a pupil of David Ryckaert III in 1641 and was admitted as a master in the Antwerp Guild of St. Luke in 1645–1646. He married Catharina Douglas, called de Schot (the Scot), and was the father of Frans and Jan Baptist de Bie , who both became painters. Jan Baptist emigrated to Vienna where he remained active. Erasmus de Bie had pupils in 1660 and in 1666, including his son Frans. He died in Antwerp in 1675. Erasmus de Bie

460-556: Was court painter of Louis XIII. From Paris he continued in 1614 on to Rome where he stayed for six years. It is possible that around 1620 he shared in Rome lodgings with the Dutch painter Hendrick ter Brugghen . He then spent three years visiting important Italian cities. His patrons included Cardinals, for whom he made paintings on panel as well as on precious metals such as gold and silver plates and on porphyry and jasper. He returned to Lier in 1623. He painted portraits and decorations for

483-460: Was successful in Rome with small cabinet pieces. De Bie was a painter of portraits, biblical scenes for churches and Italianate landscapes. He also painted on a large scale such as in his View of Campo Vaccino in Rome ( Victoria Art Gallery , 1643). It shows a myriad of figures on the Forum Romanum . This type of work is likely indicative for a side-line he pursued during the three decades he spent in Lier after his return from Italy. The work

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506-539: Was the composition of animated townscapes, in particular of city squares. His composition The Ommegang in Antwerp is an example of such a work. It was reinterpreted by various Flemish artists including Alexander van Bredael . It may itself have been inspired by Pieter van Aelst's painting with the same theme. Another lively city scene of Antwerp is the Figures in front of the frozen Scheldt in Antwerp painted in 1670 (Artcurial sale of 13 November 2018 lot 43). It shows

529-512: Was the father of the poet and artist biographer Cornelis de Bie . De Bie was born in Lier. His son Cornelis de Bie reports that he studied painting in Antwerp under the artist Wouter Abts . This information is not confirmed by the Liggeren, the records of Antwerp's Guild of Saint Luke . In 1611 he travelled to Paris where he lived for two years with his teacher the Flemish painter Rudolph Schoof, who

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