Null School of VAN DYCK (Antwerp, 1599 - London, 1641); second third 17th centur…
描述

School of VAN DYCK (Antwerp, 1599 - London, 1641); second third 17th century. "Virgin and Child. Oil on canvas. Re-tinted. It has repainting on the pictorial surface and perforation of the canvas. It has a 19th century frame. Measurements: 121 x 105 cm; 138 x 121 cm (frame). In the present work the painter, belonging to the school of Van Dyck, in fact follows the model of the master's painting entitled Virgin and Child (1630-632) which is currently in the Royal Collection (England). This representation of the Virgin and Child is indebted to Titian's Virgin and Child with Saints Stephen, Jerome and Maurice of c.1520 (now in the Louvre) which Van Dyck had seen in Italy. Van Dyck removed the three saints and instead focused on the Virgin and Child, eliminating the narrative features of the original and creating a pure, devotional image. The artist concentrates exclusively on the two figures, who, while absorbed in the everyday playfulness of children's games, present this divine union. The Virgin and Child are positioned facing the viewer, and the artist succeeds in conveying the naturalness of the gesture of the child, who leans on his mother and looks at a point outside the painting. Since the end of the Middle Ages artists have insisted on depicting, in an increasingly intense manner, the bond of affection that united Christ with his Mother and the close relationship between them; this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterises a large part of artistic production. Throughout the history of art it is common for many works to be executed by disciples, copying the original model of the master under his supervision. In this way, it was common that when the work had already taken shape it was intervened by the master, who would retouch the important areas or correct the mistakes of his pupils. The Virgin's hand under the arm of Jesus, the eyes and certain incarnations reveal a clear virtuosity. Van Dyck opened a personal workshop as a teenager, at the age of sixteen, together with his young friend Jan Brueghel the Younger. It is worth noting that Van Dyck worked closely with Rubens, to whom he became an assistant, abandoning his independent workshop. In the studio of Rubens, by then a painter known throughout Europe, Van Dyck made his name known among the aristocracy and the wealthy bourgeoisie and came into contact with classical culture and court etiquette. Anton Van Dyck was a key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. He began his training with the Romanist painter Van Balen in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I. In London he enjoyed greater freedom and abandoned religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training by travelling around Italy, where he was impressed by Bolognese painting and the works of Titian, where he developed his mature, refined and elegant style and established his own type of portraiture, which became a model for Western painting. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. He dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, then returned to London for health reasons and died shortly afterwards at his home in the English capital. Anton Van Dyck is represented in major museums all over the world.

26 

School of VAN DYCK (Antwerp, 1599 - London, 1641); second third 17th century. "Virgin and Child. Oil on canvas. Re-tinted. It has repainting on the pictorial surface and perforation of the canvas. It has a 19th century frame. Measurements: 121 x 105 cm; 138 x 121 cm (frame). In the present work the painter, belonging to the school of Van Dyck, in fact follows the model of the master's painting entitled Virgin and Child (1630-632) which is currently in the Royal Collection (England). This representation of the Virgin and Child is indebted to Titian's Virgin and Child with Saints Stephen, Jerome and Maurice of c.1520 (now in the Louvre) which Van Dyck had seen in Italy. Van Dyck removed the three saints and instead focused on the Virgin and Child, eliminating the narrative features of the original and creating a pure, devotional image. The artist concentrates exclusively on the two figures, who, while absorbed in the everyday playfulness of children's games, present this divine union. The Virgin and Child are positioned facing the viewer, and the artist succeeds in conveying the naturalness of the gesture of the child, who leans on his mother and looks at a point outside the painting. Since the end of the Middle Ages artists have insisted on depicting, in an increasingly intense manner, the bond of affection that united Christ with his Mother and the close relationship between them; this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterises a large part of artistic production. Throughout the history of art it is common for many works to be executed by disciples, copying the original model of the master under his supervision. In this way, it was common that when the work had already taken shape it was intervened by the master, who would retouch the important areas or correct the mistakes of his pupils. The Virgin's hand under the arm of Jesus, the eyes and certain incarnations reveal a clear virtuosity. Van Dyck opened a personal workshop as a teenager, at the age of sixteen, together with his young friend Jan Brueghel the Younger. It is worth noting that Van Dyck worked closely with Rubens, to whom he became an assistant, abandoning his independent workshop. In the studio of Rubens, by then a painter known throughout Europe, Van Dyck made his name known among the aristocracy and the wealthy bourgeoisie and came into contact with classical culture and court etiquette. Anton Van Dyck was a key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. He began his training with the Romanist painter Van Balen in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I. In London he enjoyed greater freedom and abandoned religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training by travelling around Italy, where he was impressed by Bolognese painting and the works of Titian, where he developed his mature, refined and elegant style and established his own type of portraiture, which became a model for Western painting. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. He dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, then returned to London for health reasons and died shortly afterwards at his home in the English capital. Anton Van Dyck is represented in major museums all over the world.

该拍品的拍卖已经结束 查看结果