Description
Pierre Olivier Joseph Coomans (1816-1889) Il passo, Armida Canto XVI Naples, February 1, 1859. Oil on cardboard Titled and dated on the reverse and transferred word for word to the frame. 25.5 x 22.5 cm (on view) Musical tragedy by Tasso (Jerusalem delivered, 1580). Our sketch is inspired by the song number XVI of the musical play, which places Renaud in a green environment, covered by the veil of the enchantress Armide. This romantic love scene, with its fairy-tale appearance, is for the artist a formidable means of exploring a romantic exoticism through the representation of Mediterranean plants, costumes and coloured fabrics in an orientalist atmosphere. This work can also be linked to the Pre-Raphaelite ideas which had been taking shape in the United Kingdom since 1848. Provenance : Famille de l’artiste. Le fils ainé du peintre et de Zoé van Male de Brachène (1807-1848), le poète Oscar Coomans de Brachène (1848-1884), marié à Marie Louise Clément de Cléty (1881-1965) puis par descendance.
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Pierre Olivier Joseph Coomans (1816-1889) Il passo, Armida Canto XVI Naples, February 1, 1859. Oil on cardboard Titled and dated on the reverse and transferred word for word to the frame. 25.5 x 22.5 cm (on view) Musical tragedy by Tasso (Jerusalem delivered, 1580). Our sketch is inspired by the song number XVI of the musical play, which places Renaud in a green environment, covered by the veil of the enchantress Armide. This romantic love scene, with its fairy-tale appearance, is for the artist a formidable means of exploring a romantic exoticism through the representation of Mediterranean plants, costumes and coloured fabrics in an orientalist atmosphere. This work can also be linked to the Pre-Raphaelite ideas which had been taking shape in the United Kingdom since 1848. Provenance : Famille de l’artiste. Le fils ainé du peintre et de Zoé van Male de Brachène (1807-1848), le poète Oscar Coomans de Brachène (1848-1884), marié à Marie Louise Clément de Cléty (1881-1965) puis par descendance.
