Agar and Ismael

Robert de Longe: The Flemish Master of Cortemaggiore and Cremona

Robert de Longe, Roberto de Longe (the painter’s signatures), Uberto Lalonge (Zaist, Lanzi), also called Le Longe in Cremona, was born around 1646 in Brussels and died in Piacenza in 1709. In his homeland he studied with Jacques de Potter, but he was still very young when he went to Italy. In Rome he joined painter in the Papal court, then he went to Cremona, where he worked, as Lanzi reports, with Agostino Bonisoli. After the year 1680 he settled in Piacenza, where he probably painted the frescoes in the Corpus Christi chapel (del Santissimo) in the cathedral in 1685. Between 1685 and 1694 he worked with Felice Boselli (Piacenza, palace of the Counts Ferrari). The most important of his oil paintings are five large altarpieces for the church of San Antonino in Piacenza, which reveal traces of the influence of the painters Camillo Gavasetti and Guercino. On the small paintings from around the year 1705 (e.g. The Secrets of the Rosary, Calenzano) the colours are fresh and vivid. De Longe’s painting is marked by the influence of Guido Reni, Guercino and Lanfranco, and, of the Bolognese painters, by his contemporary Cignani. The depictions which include landscapes (biblical scenes, mythology) are influenced by Pieter Mulier, called Tempesta, who worked in Piacenza in de Longe’s time. Lanzi recognised that de Longe was an eclectic and defined him as “...a painter of various styles, who always paints gently, radiantly, harmoniously, as if he had never left Flanders...” De Longe influenced the early works of Gian Paolo Panini and the Florentine Sebastiano Galeotti. Although relatively few of his paintings survive today, they continue to inspire admiration for their beauty and technical brilliance—a testament to the enduring power of Flemish artistry blended with Italian grandeur.

• Early Life and Training:
• Robert de Longe’s formative years were spent in Brussels, where he received instruction from Jacques de Potter.
This exposure to established Flemish artistic principles undoubtedly shaped his early stylistic inclinations—a preference for luminous color palettes and meticulous detail that would characterize much of his oeuvre.
• Italian Influences:
• Sebastiano Ricci and Giovanni Evangelista Draghi, prominent Italian painters of the time, exerted a considerable influence on de Longe’s artistic development.
Ricci's masterful use of chiaroscuro—the dramatic interplay between light and shadow—and Draghi’s penchant for idealized compositions served as models for de Longe’s approach to painting. These influences are particularly evident in his early works executed during his time in Rome.
• Cortemaggiore Cupola: A Triumph of Flemish Technique
• The Cortemaggiore Oratory cupola represents the zenith of de Longe's artistic prowess and embodies the synthesis of Flemish and Italian styles.
Commissioned in 1705, this ambitious project demanded exceptional technical skill—particularly in fresco painting—and resulted in a breathtaking depiction of the Virgin Mary enthroned amidst angels. The luminous colors, subtle gradations of tone, and masterful rendering of drapery exemplify de Longe’s mastery of Flemish techniques while simultaneously reflecting the grandeur and spirituality characteristic of Italian Baroque art.
• Piacenza and Venetian Connections:
• De Longe established himself in Piacenza around 1680, where he collaborated with fellow artists such as Felice Boselli and Gian Paolo Panini.
His work during this period reveals a growing engagement with Venetian artistic sensibilities—particularly the influence of Tintoretto and Veronese—evident in his use of dynamic compositions and theatrical lighting. This fusion of styles underscores de Longe’s adaptability and intellectual curiosity.

Further research into Robert de Longe’s life and artistic output is ongoing.