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Descripción

Flemish school; first half of the 17th century. "Gipsy.". Oil on oak panel. It has an opening in the central area of the panel and needs to be consolidated. It has some slight leaps in the painting, repainting and restorations. Measurements: 31 x 26,5 cm. In the flemish 17th century, portraiture was one of the pictorial genres most in demand among the gentry. Here we are before a characteristic example of the technical refinement that the painters used in the individual portraits: skill in the handling of the drawing, detail inherited from the art of the miniatures, excellent glazes, the delicate blond hair and a fine gauze headdress. The folds of the neckline of the dress are perfectly geometrical, but this does not detract from the naturalness of the portrait. The same goes for the jewellery which the sitter wears in the form of a rhythmic fretwork. In this way, no element is left to chance, and everything is integrated into an underlying order of lines and colours. The facial oval, thus framed, is modelled by a filtered light which brings out the right tones of the slightly rosy flesh tones. The black eyes look out of the corner of his eye, revealing insight. It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

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Flemish school; first half of the 17th century. "Gipsy.". Oil on oak panel. It has an opening in the central area of the panel and needs to be consolidated. It has some slight leaps in the painting, repainting and restorations. Measurements: 31 x 26,5 cm. In the flemish 17th century, portraiture was one of the pictorial genres most in demand among the gentry. Here we are before a characteristic example of the technical refinement that the painters used in the individual portraits: skill in the handling of the drawing, detail inherited from the art of the miniatures, excellent glazes, the delicate blond hair and a fine gauze headdress. The folds of the neckline of the dress are perfectly geometrical, but this does not detract from the naturalness of the portrait. The same goes for the jewellery which the sitter wears in the form of a rhythmic fretwork. In this way, no element is left to chance, and everything is integrated into an underlying order of lines and colours. The facial oval, thus framed, is modelled by a filtered light which brings out the right tones of the slightly rosy flesh tones. The black eyes look out of the corner of his eye, revealing insight. It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

Valoración 1 400 - 1 600 EUR
Precio de salida 900 EUR

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