Jan Brueghel II.
![Jan Brueghel II. - Obrazy starých mistrů Jan Brueghel II. - Obrazy starých mistrů](/fileadmin/lot-images/38A151020/normal/jan-brueghel-ii-2332543.jpg)
(Antwerp 1601–1678)
Noli me tangere
oil on canvas, 87.5 x 187.5 cm, framed
Provenance:
Baron Delbeke collection, Antwerp;
We are grateful to Klaus Ertz for confirming the attribution of the present painting (written communication).
Ertz writes: ‘In his treatment of such Christian themes as the composition of Noli me tangere, which is without precedent in the father’s oeuvre and of which the son painted several variants even before his journey to Italy, until well into the 1640s, Jan Brueghel the Younger proves a highly qualified, independent, and original artist. These pictures distinctly reveal Jan Brueghel the Younger’s painterly qualities. The artist’s brushstroke, which became explicitly painterly in his late period, is already fully developed in the composition to be assessed here. He increasingly detached himself from the early meticulous and detailed brushwork he had adopted from his father and introduced his own approaches and manner of painting. Although in many of his paintings the son referred to his father’s art for inspiration, it cannot be excluded that in the case of the present painting Jan Breughel the Younger developed this type of composition himself. At least, there are no known paintings by Jan Breughel the Elder on the basis of which the present composition could have been modelled.’
In the present interpretation of the legend, Christ appears to Mary Magdalene in a garden. He stands in front of her, holding a spade in his hand. The painting captures the moment when Mary Magdalene recognises Jesus, falls down on her knees, and stretches her arms out towards him. But Jesus wards her off: ‘Do not touch me (noli me tangere), for I have not yet ascended to my Father’. Mary Magdalene’s sweeping drapery suggests her sudden movement and excitement. An ointment jar, her attribute, stands beside her on the ground. On the left, farther in the background, appears a small group of figures, gesticulating at the entrance of the tomb. In the distance we can see the city of Jerusalem. The scene is set at the central foreground of the picture. Next to the two figures stands a wheelbarrow filled with garden fruit. Asparagus, artichokes, radishes, and scallions are loosely scattered on the ground. Behind the figures, an alley leads into the distance and thereby lends the composition spatial depth. The atmosphere of the painting is calm and clear, and the rising sun bathes the landscape in a warm light.
Ertz attributes the figures in the present painting to an unidentified artist in the circle of Pieter van Avont. In order to corroborate the attribution of the picture to Jan Brueghel II, Ertz mentions the following comparisons:
1. Noli me tangere (German private collection);
2. Noli me tangere (English private collection);
3. Noli me tangere (M. H. de Young Memorial Museum, San Francisco);
4. The Encounter of the Three Women at the Tomb of Christ (Hinze Collection, Berlin, 1929)
Provenance:
Baron Delbeke collection, Antwerp;
sale Sotheby’s, London, 29th April 2015, lot 515 (as Jan Brueghel II)
We are grateful to Klaus Ertz for confirming the attribution of the present painting (written communication).
Ertz writes: ‘In his treatment of such Christian themes as the composition of Noli me tangere, which is without precedent in the father’s oeuvre and of which the son painted several variants even before his journey to Italy, until well into the 1640s, Jan Brueghel the Younger proves a highly qualified, independent, and original artist. These pictures distinctly reveal Jan Brueghel the Younger’s painterly qualities. The artist’s brushstroke, which became explicitly painterly in his late period, is already fully developed in the composition to be assessed here. He increasingly detached himself from the early meticulous and detailed brushwork he had adopted from his father and introduced his own approaches and manner of painting. Although in many of his paintings the son referred to his father’s art for inspiration, it cannot be excluded that in the case of the present painting Jan Breughel the Younger developed this type of composition himself. At least, there are no known paintings by Jan Breughel the Elder on the basis of which the present composition could have been modelled.’
In the present interpretation of the legend, Christ appears to Mary Magdalene in a garden. He stands in front of her, holding a spade in his hand. The painting captures the moment when Mary Magdalene recognises Jesus, falls down on her knees, and stretches her arms out towards him. But Jesus wards her off: ‘Do not touch me (noli me tangere), for I have not yet ascended to my Father’. Mary Magdalene’s sweeping drapery suggests her sudden movement and excitement. An ointment jar, her attribute, stands beside her on the ground. On the left, farther in the background, appears a small group of figures, gesticulating at the entrance of the tomb. In the distance we can see the city of Jerusalem. The scene is set at the central foreground of the picture. Next to the two figures stands a wheelbarrow filled with garden fruit. Asparagus, artichokes, radishes, and scallions are loosely scattered on the ground. Behind the figures, an alley leads into the distance and thereby lends the composition spatial depth. The atmosphere of the painting is calm and clear, and the rising sun bathes the landscape in a warm light.
Ertz attributes the figures in the present painting to an unidentified artist in the circle of Pieter van Avont. In order to corroborate the attribution of the picture to Jan Brueghel II, Ertz mentions the following comparisons:
1. Noli me tangere (German private collection);
2. Noli me tangere (English private collection);
3. Noli me tangere (M. H. de Young Memorial Museum, San Francisco);
4. The Encounter of the Three Women at the Tomb of Christ (Hinze Collection, Berlin, 1929)
Expert: Dr. Alexander Strasoldo
Dr. Alexander Strasoldo
+43 1 515 60 403
old.masters@dorotheum.com
20.10.2015 - 18:00
- Dosažená cena: **
-
EUR 113.190,-
- Odhadní cena:
-
EUR 120.000,- do EUR 150.000,-
Jan Brueghel II.
(Antwerp 1601–1678)
Noli me tangere
oil on canvas, 87.5 x 187.5 cm, framed
Provenance:
Baron Delbeke collection, Antwerp;
We are grateful to Klaus Ertz for confirming the attribution of the present painting (written communication).
Ertz writes: ‘In his treatment of such Christian themes as the composition of Noli me tangere, which is without precedent in the father’s oeuvre and of which the son painted several variants even before his journey to Italy, until well into the 1640s, Jan Brueghel the Younger proves a highly qualified, independent, and original artist. These pictures distinctly reveal Jan Brueghel the Younger’s painterly qualities. The artist’s brushstroke, which became explicitly painterly in his late period, is already fully developed in the composition to be assessed here. He increasingly detached himself from the early meticulous and detailed brushwork he had adopted from his father and introduced his own approaches and manner of painting. Although in many of his paintings the son referred to his father’s art for inspiration, it cannot be excluded that in the case of the present painting Jan Breughel the Younger developed this type of composition himself. At least, there are no known paintings by Jan Breughel the Elder on the basis of which the present composition could have been modelled.’
In the present interpretation of the legend, Christ appears to Mary Magdalene in a garden. He stands in front of her, holding a spade in his hand. The painting captures the moment when Mary Magdalene recognises Jesus, falls down on her knees, and stretches her arms out towards him. But Jesus wards her off: ‘Do not touch me (noli me tangere), for I have not yet ascended to my Father’. Mary Magdalene’s sweeping drapery suggests her sudden movement and excitement. An ointment jar, her attribute, stands beside her on the ground. On the left, farther in the background, appears a small group of figures, gesticulating at the entrance of the tomb. In the distance we can see the city of Jerusalem. The scene is set at the central foreground of the picture. Next to the two figures stands a wheelbarrow filled with garden fruit. Asparagus, artichokes, radishes, and scallions are loosely scattered on the ground. Behind the figures, an alley leads into the distance and thereby lends the composition spatial depth. The atmosphere of the painting is calm and clear, and the rising sun bathes the landscape in a warm light.
Ertz attributes the figures in the present painting to an unidentified artist in the circle of Pieter van Avont. In order to corroborate the attribution of the picture to Jan Brueghel II, Ertz mentions the following comparisons:
1. Noli me tangere (German private collection);
2. Noli me tangere (English private collection);
3. Noli me tangere (M. H. de Young Memorial Museum, San Francisco);
4. The Encounter of the Three Women at the Tomb of Christ (Hinze Collection, Berlin, 1929)
Provenance:
Baron Delbeke collection, Antwerp;
sale Sotheby’s, London, 29th April 2015, lot 515 (as Jan Brueghel II)
We are grateful to Klaus Ertz for confirming the attribution of the present painting (written communication).
Ertz writes: ‘In his treatment of such Christian themes as the composition of Noli me tangere, which is without precedent in the father’s oeuvre and of which the son painted several variants even before his journey to Italy, until well into the 1640s, Jan Brueghel the Younger proves a highly qualified, independent, and original artist. These pictures distinctly reveal Jan Brueghel the Younger’s painterly qualities. The artist’s brushstroke, which became explicitly painterly in his late period, is already fully developed in the composition to be assessed here. He increasingly detached himself from the early meticulous and detailed brushwork he had adopted from his father and introduced his own approaches and manner of painting. Although in many of his paintings the son referred to his father’s art for inspiration, it cannot be excluded that in the case of the present painting Jan Breughel the Younger developed this type of composition himself. At least, there are no known paintings by Jan Breughel the Elder on the basis of which the present composition could have been modelled.’
In the present interpretation of the legend, Christ appears to Mary Magdalene in a garden. He stands in front of her, holding a spade in his hand. The painting captures the moment when Mary Magdalene recognises Jesus, falls down on her knees, and stretches her arms out towards him. But Jesus wards her off: ‘Do not touch me (noli me tangere), for I have not yet ascended to my Father’. Mary Magdalene’s sweeping drapery suggests her sudden movement and excitement. An ointment jar, her attribute, stands beside her on the ground. On the left, farther in the background, appears a small group of figures, gesticulating at the entrance of the tomb. In the distance we can see the city of Jerusalem. The scene is set at the central foreground of the picture. Next to the two figures stands a wheelbarrow filled with garden fruit. Asparagus, artichokes, radishes, and scallions are loosely scattered on the ground. Behind the figures, an alley leads into the distance and thereby lends the composition spatial depth. The atmosphere of the painting is calm and clear, and the rising sun bathes the landscape in a warm light.
Ertz attributes the figures in the present painting to an unidentified artist in the circle of Pieter van Avont. In order to corroborate the attribution of the picture to Jan Brueghel II, Ertz mentions the following comparisons:
1. Noli me tangere (German private collection);
2. Noli me tangere (English private collection);
3. Noli me tangere (M. H. de Young Memorial Museum, San Francisco);
4. The Encounter of the Three Women at the Tomb of Christ (Hinze Collection, Berlin, 1929)
Expert: Dr. Alexander Strasoldo
Dr. Alexander Strasoldo
+43 1 515 60 403
old.masters@dorotheum.com
Horká linka kupujících
Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
Aukce: | Obrazy starých mistrů |
Typ aukce: | Salónní aukce |
Datum: | 20.10.2015 - 18:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 10.10. - 20.10.2015 |
** Kupní cena vč. poplatku kupujícího a DPH(Země dodání Rakousko)
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