2 - PIETER AERTSEN (Amsterdam, 1508–1575).

PIETER AERTSEN (Amsterdam, 1508–1575). “Tetramorphs.” Oil on panel. Cradled. The painting shows signs of repainting on the surface. It has a 19th-century frame. Measurements: 127 x 83 cm; 174.5 x 131 cm (frame). This composition by Pieter Aertsen stands out for its monumental scale, the uniqueness of its Mannerist approach, and the extraordinary prominence given to the figures of the four evangelists and their symbols. The work follows the same compositional model as the painting dated 1559 housed at the Suermondt-Ludwig-Museum in Aachen (inv. GK 10), a particularly relevant reference for situating the piece within the artist’s oeuvre. Aertsen depicts the Tetramorph in a composition where the four evangelists are grouped in a pyramidal arrangement, characterized by great spatial density and marked expressive tension. Saint Luke and Saint Matthew occupy the foreground, accompanied respectively by the bull and the angel. On a second level, Saint Mark appears alongside the lion, while Saint John, accompanied by the eagle, occupies the background. The arrangement of the figures—deliberately close together and possessing a powerful physical presence—creates a sense of monumentality reinforced by the elaborate use of perspective and the overlapping of the various planes of depth. One of the most striking aspects of the composition is the depiction of the animals, rendered with extraordinary naturalism. Although they adhere to the traditional symbolism of the Tetramorph, Aertsen endows them with a physical presence and visual autonomy that transcend their allegorical function. This interest in the direct observation of nature constitutes one of the most personal traits of his artistic language. The figure of Saint John deserves special attention; his facial features have been linked to a possible self-portrait of the painter. In the upper left, the dove of the Holy Spirit appears in an open, illuminated space, introducing a counterpoint of light and spirituality against the compact grouping of figures. Pieter Aertsen, a pupil of Allart Claesz in Amsterdam, later pursued his career in Antwerp, where he joined the Guild of Saint Luke in 1535 and established a successful workshop. Initially specializing in religious painting, he distinguished himself by introducing an innovative Mannerist style that combined biblical scenes with depictions of everyday life, still lifes, and market scenes. He received major religious commissions, including the main altarpiece of the Nieuwe Kerk in Amsterdam. He was the teacher of Joachim Beuckelaer, one of the leading followers of his style. His work is represented in major international collections, including the Rijksmuseum in Amsterdam, the Museum Boijmans Van Beuningen in Rotterdam, the National Gallery in London, the Nationalmuseum in Stockholm, and the Statens Museum for Kunst in Copenhagen. It shows signs of repainting on the painted surface.