Italo-Flemish School, circa 1560
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The Finding of Moses,
inscribed, traces of a signature lower right and dated upper left 1560,
oil on canvas, 158 x 220 cm, framed
The present painting depicts the biblical scene in which, in the company of her handmaids, the pharaoh’s daughter finds the infant Moses still in swaddling clothes hidden in a reed bed on the banks of the Nile, and decides to take care of him (Exodus, 2).
The elaborate composition is set in a splendid outdoor environment that alludes to Egypt with the inclusion of a palm tree. The date 1560 can be discerned on the tympanum of the building in the background, reached via a sumptuous and luxuriant pergola supported by a series of pagan divinities: this provides the date of completion of the building and, therefore, a possible post quem for the painting.
The work has two vanishing points and a high horizon: these devices typical of Flemish painting illusively include the viewer within the scene that is taking place; the involvement of the viewer is also underlined by the gaze of the servant in antique-style clothes, inviting participation in the event. In Italian compositional structures, instead, the perspective lines usually converge upon a single centre placed at the height of the horizon and in which everything is neatly structured, but leaving the spectator outside the scene.
The Flemish training of the painter is also demonstrated in the carefully described decorative details such as the perfume box, the jets of the fountain and the inclusion of living creatures such as, in this case, a parrot, probably derived from Dürer, a peacock and a turkey. The architectural setting refers instead to the Venetian school and, in particular, to Veronese.
The attribution of this painting is still under discussion. This work was traditionally attributed to Lodewijk Toeput, known as Ludovico Pozzoserrato in Italy and the canvas does seem to have been executed by a painter perhaps from Antwerp, active in Italy and, in particular, in Genoa; this was a city with close commercial ties with Flanders, especially during the late sixteenth and seventeenth century, during which time the influence of Flemish painters was fundamental. The author of this painting shows various influences of the style of other masters including Pieter Aertsen, Joachim Beuckelaer, Jacob de Backer and Jan Matsys. The latter especially, an exponent of mature Flemish mannerism and son of the celebrated Quentin, probably went to Genoa and also lived in France, near Fontainebleau. Matsys painted a view of the city of Genoa in the background of the Flora or Venus at the Nationalmuseum of Stockholm, dated 1561. In this case too, the composition presents different perspective points of view between the garden in the foreground and the background.
Correct measurements
158 x 220 cm
30.04.2019 - 17:00
- Odhadní cena:
-
EUR 40.000,- do EUR 60.000,-
Italo-Flemish School, circa 1560
[Saleroom Notice]The Finding of Moses,
inscribed, traces of a signature lower right and dated upper left 1560,
oil on canvas, 158 x 220 cm, framed
The present painting depicts the biblical scene in which, in the company of her handmaids, the pharaoh’s daughter finds the infant Moses still in swaddling clothes hidden in a reed bed on the banks of the Nile, and decides to take care of him (Exodus, 2).
The elaborate composition is set in a splendid outdoor environment that alludes to Egypt with the inclusion of a palm tree. The date 1560 can be discerned on the tympanum of the building in the background, reached via a sumptuous and luxuriant pergola supported by a series of pagan divinities: this provides the date of completion of the building and, therefore, a possible post quem for the painting.
The work has two vanishing points and a high horizon: these devices typical of Flemish painting illusively include the viewer within the scene that is taking place; the involvement of the viewer is also underlined by the gaze of the servant in antique-style clothes, inviting participation in the event. In Italian compositional structures, instead, the perspective lines usually converge upon a single centre placed at the height of the horizon and in which everything is neatly structured, but leaving the spectator outside the scene.
The Flemish training of the painter is also demonstrated in the carefully described decorative details such as the perfume box, the jets of the fountain and the inclusion of living creatures such as, in this case, a parrot, probably derived from Dürer, a peacock and a turkey. The architectural setting refers instead to the Venetian school and, in particular, to Veronese.
The attribution of this painting is still under discussion. This work was traditionally attributed to Lodewijk Toeput, known as Ludovico Pozzoserrato in Italy and the canvas does seem to have been executed by a painter perhaps from Antwerp, active in Italy and, in particular, in Genoa; this was a city with close commercial ties with Flanders, especially during the late sixteenth and seventeenth century, during which time the influence of Flemish painters was fundamental. The author of this painting shows various influences of the style of other masters including Pieter Aertsen, Joachim Beuckelaer, Jacob de Backer and Jan Matsys. The latter especially, an exponent of mature Flemish mannerism and son of the celebrated Quentin, probably went to Genoa and also lived in France, near Fontainebleau. Matsys painted a view of the city of Genoa in the background of the Flora or Venus at the Nationalmuseum of Stockholm, dated 1561. In this case too, the composition presents different perspective points of view between the garden in the foreground and the background.
Correct measurements
158 x 220 cm
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: | 30.04.2019 - 17:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 20.04. - 30.04.2019 |